Autodesk Viz 2007 User Reference Vol3

AUTODESK
VIZ
2007
User Reference
Volume III
Image courtesy of Luke Novotny for Cox Richardson Architects

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Third-Party Software Program Credits

© 2005 Microsoft Corporation. All rights reserved.
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tocContents
15 Effects and Environments ........................... 1 Volume Fog Environment Effect............................... 64

Effects and Environments ........................................... 1 Volume Light Environment Effect ............................ 68
Environment and Effects Dialog ................................. 1 Exposure Controls .................................................. 73
Rendering Effects ..................................................... 2 Exposure Controls..................................................... 73
Introduction to Rendering Effects .............................. 2 Automatic Exposure Control .................................... 74
Rendering Effects Command...................................... 2 Linear Exposure Control........................................... 76
Effects Panel and Rollout............................................. 3 Logarithmic Exposure Control ................................. 77
Merging Effects ........................................................... 4 Pseudo Color Exposure Control ............................... 79
Lens Effects Rendering Effects ................................ 4 Lighting Data Exporter Utility.................................. 82
Lens Effects Rendering Effects .................................... 4 Atmospheric Apparatus Helper Objects ............... 83
Glow Lens Effect.......................................................... 7 Atmospheric Apparatus ............................................ 83
Ring Lens Effect......................................................... 11 Add Atmosphere Dialog ........................................... 84
Ray Lens Effect .......................................................... 15 BoxGizmo Helper...................................................... 84
Auto Secondary Lens Effect ...................................... 19 CylGizmo Helper....................................................... 85
Manual Secondary Lens Effect.................................. 23 SphereGizmo Helper ................................................. 87
Star Lens Effect .......................................................... 27
Streak Lens Effect ...................................................... 31 16 Managing Scenes and Projects ................. 89
Lens Effects Dialogs................................................ 35 Managing Scenes and Projects .................................. 89
Circular Falloff Graph (Lens Effects) ........................ 35 File-Handling Commands ...................................... 90
Radial Density Dialog (Lens Effects) ........................ 37 File-Handling Commands ........................................ 90
Radial Falloff Dialog (Lens Effects) .......................... 38 New............................................................................ 90
Radial Size Dialog (Lens Effects) .............................. 40 Reset .......................................................................... 91
Blur Rendering Effect ................................................ 41 Open .......................................................................... 91
Brightness and Contrast Rendering Effect ............... 46 Open from Vault........................................................ 93
Color Balance Rendering Effect ................................ 46 Open Recent .............................................................. 94
File Output Rendering Effect .................................... 47 Save ............................................................................ 94
Film Grain Rendering Effect ..................................... 49 Save As ....................................................................... 95
Motion Blur Rendering Effect................................... 50 Save Copy As ............................................................. 96
Depth of Field Rendering Effect................................ 50 Save Selected.............................................................. 96
Environment and Environment Effects................. 52 Merge......................................................................... 97
Environment.............................................................. 52 Replace....................................................................... 99
Environment Panel.................................................... 53 Import ..................................................................... 100
Fire Environment Effect ............................................ 57 Export...................................................................... 101
Fog Environment Effect ............................................ 62 Export Selected........................................................ 101
iv Contents
Asset Tracking....................................................... 102 Adobe Illustrator (AI) Files ................................... 145

Asset Tracking Dialog ............................................. 102 Importing Adobe Illustrator 88 Files ...................... 145
Prompts Dialog ....................................................... 109 Exporting to Adobe Illustrator ............................... 145
Asset Tracking Dialog Icons.................................... 109 ASCII (ASC, ASE) Files ........................................... 145
Archive..................................................................... 110 Exporting to ASCII ................................................. 145
Resource Collector .................................................. 111 AutoCAD Drawing Files ........................................ 147
Map/Photometric Path Editor ................................ 111 Importing AutoCAD Drawing Files ....................... 147
Summary Info ......................................................... 111 Legacy AutoCAD Import ........................................ 155
File Properties.......................................................... 112 Exporting AutoCAD DWG Files............................. 157
Print Setup............................................................... 113 AutoCAD Interchange (DXF) Files ....................... 159
Print Viewport......................................................... 114 Importing DXF Files ............................................... 159
View Image File ....................................................... 114 Exporting to DXF Files ........................................... 165
Exit........................................................................... 116 Autodesk Inventor (IAM, IPT ) Files...................... 165
Missing External Files Dialog.................................. 116 Importing Autodesk Inventor Files......................... 165
File-Handling Utilities .......................................... 117 Filmbox (FBX) Files ............................................... 168
Asset Browser Utility ............................................... 117 Importing FBX Files................................................ 168
Bitmap/Photometric Path Editor Utility................. 123 FBX Import Advanced Parameters Dialog
Content Browser ................................................... 124 (Animation).......................................................... 170
Content Browser Utility .......................................... 124 Exporting FBX Files ................................................ 171
MAX File Finder Utility .......................................... 126 IGES Files ............................................................... 172
Resource Collector Utility....................................... 127 Overview of IGES in Autodesk VIZ........................ 172
Fix Ambient Utility.................................................. 128 IGES Log Files ......................................................... 174
Bitmap Pager Statistics Dialog ................................ 129 Importing IGES Files............................................... 174
Asset Browser Subdialogs ................................... 130 IGES to Autodesk VIZ Import Table....................... 175
Preferences Dialog (Asset Browser) ........................ 130 Exporting IGES Files............................................... 176
Internet Download Dialog ...................................... 130 Autodesk VIZ to IGES Export Table....................... 177
Favorite Location Dialog......................................... 131 Lightscape Files .................................................... 178
Bitmap Path Editor Subdialogs ........................... 132 Exporting Lightscape Files .................................. 178
Bitmap / Photometric Path Editor Dialog .............. 132 Exporting Lightscape Files...................................... 178
Resource Information Dialog.................................. 133 Creating Geometry for Lightscape.......................... 179
Internet Access ..................................................... 133 Creating Materials for Lightscape ........................... 179
Internet Access ........................................................ 133 Grouping Geometry for Lightscape........................ 180
i-drop Indicator....................................................... 134 Exporting Standard Lights...................................... 180
Geometry File Formats......................................... 135 Setting Units and Scale............................................ 182
Geometry File Formats ........................................... 135 Exporting Daylight to Lightscape ........................... 183
Importing Geometry............................................... 135 Selecting Objects to Be Exported............................ 184
Working with MAX Files from Autodesk VIZ ...... 136 Exporting Camera Views ........................................ 184
Working with MAX Files from 3ds Max................. 136 Keeping Your Original Autodesk VIZ Materials..... 184
VIZ Render (DRF) Files .......................................... 136 Using Relative Paths with Block and Material
VIZ Render (DRF) Files .......................................... 136 Files ....................................................................... 185
Working with DRF Files in Autodesk VIZ.............. 137 Exporting Animations ............................................ 185
3D DWF Files ......................................................... 139 How Autodesk VIZ Objects Are Converted to
Exporting 3D DWF Files......................................... 139 Lightscape............................................................. 189
3D Studio Mesh (3DS, PRJ) Files .......................... 141 LandXML (XML, DEM) Files .................................. 190
Importing 3DS Files ................................................ 141 Importing LandXML/DEM Models ....................... 190
Importing PRJ Files................................................. 142 LandXML/DEM Model Import Dialog .................. 191
Exporting to 3DS..................................................... 143 Lightscape Export Dialogs ................................... 192
3D Studio Shape (SHP) Files ................................ 144 Export Lightscape Preparation File Dialog ........ 192
Importing SHP Files................................................ 144 Export Lightscape Preparation File Dialog............. 192
Contents v
Lightscape Preparation File General Panel ............. 193 Anchor VRML97 Helper......................................... 240
Lightscape Preparation File Lights Panel ................ 195 ProxSensor VRML97 Helper .................................. 241
Lightscape Preparation File Animation Panel ........ 197 NavInfo VRML97 Helper........................................ 242
Lightscape Preparation File Daylight Panel ............ 198 Fog VRML97 Helper ............................................... 243
Lightscape Preparation File Windows Panel .......... 199 Sound VRML97 Helper .......................................... 243
Lightscape Preparation File Views Panel ................ 200 LOD VRML97 Helper ............................................. 245
Export Lightscape View File Dialog .................... 201 TouchSensor VRML97 Helper ................................ 246
Export Lightscape View File Dialog........................ 201 TimeSensor VRML97 Helper.................................. 247
Lightscape View File General Panel ........................ 202 Background VRML97 Helper ................................. 248
Lightscape View File Views Panel ........................... 202 AudioClip VRML97 Helper .................................... 249
Export Lightscape Block File Dialog ................... 203 Billboard VRML97 Helper...................................... 250
Export Lightscape Block File Dialog....................... 203 Inline VRML97 Helper ........................................... 251
Lightscape Block File General Panel ....................... 204 Image File Formats ............................................... 251
Lightscape Block File Lights Panel .......................... 206 Image File Formats .................................................. 251
Export Lightscape Material File Dialog .................. 208 AVI Files................................................................... 252
Export Lightscape Layer File Dialog ....................... 208 BMP Files................................................................. 253
Export Lightscape Parameter File Dialog ............... 209 CIN (Kodak Cineon) Files ...................................... 253
Importing Lightscape Files .................................. 210 CWS (Combustion Workspace) Files ..................... 254
Importing Lightscape Files...................................... 210 DDS Files ................................................................. 254
Importing Lightscape View Files ............................ 211 EPS and PS (Encapsulated PostScript) Files........... 254
Importing Lightscape Preparation Files ................. 211 FLC Files .................................................................. 255
Importing Lightscape Solution Files ................... 211 GIF Files................................................................... 255
Importing Lightscape Solution Files....................... 211 HDRI Files............................................................... 256
Lightscape Mesh Objects......................................... 214 IFL File Format ...................................................... 259
Using Illumination Maps ........................................ 215 IFL Files ................................................................... 259
Helpful Hints and Troubleshooting ........................ 218 Image File List Control Dialog ................................ 261
Lightscape Materials Utility .................................... 219 IFL Manager Utility................................................. 261
Lightscape Import Dialogs .................................. 220 IMSQ Files ............................................................... 262
Import Lightscape Preparation Dialog ................... 220 JPEG Files ................................................................ 263
Import Lightscape Solution Dialog......................... 221 MOV (QuickTime Movie) Files .............................. 263
Error Dialog (Lightscape Import) .......................... 224 MPEG Files.............................................................. 264
Shockwave Files (W3D) ........................................ 225 OpenEXR Files ....................................................... 264
Exporting to Shockwave 3D.................................... 225 OpenEXR Files ........................................................ 264
Shockwave 3D Scene Export Options Dialog......... 226 Saving OpenEXR Files ............................................ 265
Shockwave 3D Export Preview ............................... 230 Opening OpenEXR Files......................................... 268
Shockwave 3D File Analysis Window ..................... 230 PIC Files................................................................... 270
Stereolithography (STL) Files .............................. 231 PNG Files................................................................. 271
Importing STL Files ................................................ 231 PSD Files.................................................................. 271
Exporting to STL ..................................................... 233 RLA Files ................................................................. 273
VRML Files ............................................................. 233 RPF Files.................................................................. 274
Importing VRML Files............................................ 233 RGB (SGI Image) Files ............................................ 276
Exporting to VRML97 ............................................ 234 TGA (Targa) Files .................................................... 276
VRML97 Export ..................................................... 237 TIFF Files................................................................. 277
VRML97 Export...................................................... 237 YUV Files ................................................................ 278
VRML97 Tips .......................................................... 237 RAM Player ............................................................ 278
Using the Polygon Counter Utility.......................... 239 RAM Player ............................................................. 278
VRML97 Specification ............................................ 239 RAM Player Configuration Dialog ......................... 280
VRML97 Helper Objects ....................................... 240 External References (XRefs) to Objects and
VRML97 Helper Objects......................................... 240 Scenes ................................................................. 280
vi Contents
Referencing Objects, Materials, and Scenes............ 280 Working with AutoCAD, Architectural
XRef Objects............................................................ 281 Desktop and Revit Files ..................................... 339
XRef Objects Dialog ................................................ 284 Working with AutoCAD, Architectural
XRef Files List Right-Click Menu............................ 289 Desktop, and Revit Files ....................................... 339
XRef Entities List Right-Click Menu....................... 290 AutoCAD Geometry in Autodesk VIZ .................. 340
Merge XRef File Dialog ........................................... 291 AutoCAD Geometry in Autodesk VIZ ................... 340
XRef Merge Dialog .................................................. 292 AutoCAD Entities and Blocks in Autodesk VIZ..... 340
XRef Scene............................................................... 292 Resetting Transforms on Linked AutoCAD
XRef Scenes Dialog.................................................. 296 Objects .................................................................. 341
XRef Object Rollout ................................................ 298 Restrictions on Editing AutoCAD Geometry......... 341
Proxy Object Rollout ............................................... 299 Architectural Desktop Files in Autodesk VIZ...... 342
Missing XRef Paths Dialog ...................................... 300 Architectural Desktop Files..................................... 342
Schematic View..................................................... 300 Architectural Desktop Objects in Autodesk VIZ ... 343
Schematic View Window ........................................ 300 Materials and Linked Architectural Desktop
Using Schematic View ............................................. 302 Objects................................................................ 344
Schematic View Menus ........................................... 304 Materials and Linked Architectural Desktop
Schematic View List Views...................................... 306 Objects .................................................................. 344
Schematic View Preferences Dialog ........................ 307 Assigning Materials to Linked Architectural
Schematic View Toolbars ........................................ 311 Desktop Objects ................................................... 344
Schematic View Display Floater.............................. 313 Making Changes to Architectural Desktop
Schematic View Commands................................. 314 Materials ............................................................... 345
New Schematic View ............................................... 314 UVW Mapping in Architectural Desktop Objects.. 345
Delete Schematic View ............................................ 314 Drawings Exported from Revit in
Delete Schematic View Dialog ................................ 314 Autodesk VIZ...................................................... 346
Saved Schematic Views............................................ 314 Drawings Exported from Revit ............................... 346
Schematic View Selection Right-Click Menu ......... 314 Revit Elements in Autodesk VIZ............................. 346
Using File Link with AutoCAD, Architectural Suggested Settings and Workflow...................... 349
Desktop and Revit Files ..................................... 316 Suggested Settings for Revit Projects ...................... 349
File Link Basics ...................................................... 316 Suggested Workflow for Revit to Autodesk VIZ
Working with Drawing Files ................................... 316 Projects ................................................................. 351
File Link Basics ........................................................ 318 Materials and Linked Revit Objects .................... 352
File Link Tips........................................................... 319 Material Translation and Linked Revit Objects ...... 352
Interpreting Layer Data from AutoCAD, Applying Materials to Linked Revit Objects........... 353
Architectural Desktop, or Revit ........................... 322 Editing Revit Materials in Autodesk VIZ................ 353
Scale Synchronization ............................................. 323 UVW Mapping on Revit Elements ......................... 354
File Link Manager ................................................. 323 Using Revit Materials on Autodesk VIZ
File Link Manager Utility ........................................ 323 Geometry.............................................................. 355
File Link Settings Dialog ......................................... 327 Propagate Materials to Instances............................. 355
Basic File Link Settings............................................ 327 Instanced Objects, Elements, Blocks, and
Advanced File Link Settings.................................... 330 Styles .................................................................. 355
Spline Rendering File Link Settings ........................ 333 Instanced Objects, Elements, Blocks and Styles ..... 355
New Settings Preset Dialog ..................................... 335 Instanced Objects.................................................... 356
Rename Settings Preset Dialog ............................... 336 Family Elements ...................................................... 356
Preset Editing .......................................................... 336 Blocks ...................................................................... 357
Differences Between Layers and Blocks in Styles........................................................................ 360
AutoCAD and Autodesk VIZ ............................... 336 Layers .................................................................... 362
Select Layers Dialog................................................. 337 Using Layers to Organize a Scene ........................... 362
Resolve External Reference File Dialog................... 337 Layer Manager ........................................................ 364
Select Linked Objects Dialog .................................. 338 Layer Properties Dialog........................................... 369
Contents vii
Layer List ................................................................. 373 Material Palettes ...................................................... 405

Create New Layer .................................................... 374 Scene-In Use and Scene-Unused Palettes ............... 407
Add Selection to Current Layer .............................. 374 Unsupported Materials/Maps in the Tool Palettes.. 410
Select Objects in Current Layer .............................. 374 Lighting and Cameras Palettes............................ 412
Set Current Layer to Selection’s Layer .................... 374 Lighting and Cameras Palettes................................ 412
Isolate Selection’s Layer........................................... 375 Customize Heights Dialog ................................... 413
Freeze Selection’s Layer ........................................... 375 Customize Heights Dialog ...................................... 413
Hide Selection’s Layer ............................................. 375 Studio and Luminaires Palettes........................... 415
Scene States .......................................................... 375 Studio and Luminaire Palettes ................................ 415
Managing Scene States ............................................ 375 Material Studios Palette........................................... 416
Manage Scene States Dialog .................................... 377 Studios Palette ........................................................ 418
Luminaire Palettes ................................................... 419
17 User Interface........................................... 381 Tool Palette Right-Click Menus and Dialogs....... 420
User Interface .......................................................... 381 Tool Palette Right-Click Menus and Dialogs .......... 420
Additional Keyboard Commands........................... 381 Right-Click Menus ................................................ 421
Toggling Dialogs...................................................... 382 Tool Palettes Title Bar Right-Click Menu................ 421
Starting Autodesk VIZ from the Command Line... 383 Tool Palette Right-Click Menu................................ 422
Menu Bar ............................................................... 384 Tool Right-Click Menu............................................ 423
Menu Bar ................................................................. 384 Palette Tab Right-Click Menu ................................. 424
File Menu................................................................. 385 Right-Click Menu Dialogs .................................... 425
Edit Menu ................................................................ 385 Palette Properties Dialog......................................... 425
Tools Menu .............................................................. 385 Tool Properties Dialog ............................................ 426
Group Menu ............................................................ 386 View Options Dialog ............................................... 427
Views Menu ............................................................. 386 Status Bar Controls ............................................... 427
Create Menu ............................................................ 387 Status Bar Controls.................................................. 427
Modifiers Menu....................................................... 389 Prompt Line ............................................................ 428
Animation Menu ..................................................... 391 MAXScript Mini Listener ....................................... 428
Graph Editors Menu................................................ 392 Status Line .............................................................. 430
Rendering Menu...................................................... 393 Time Slider .............................................................. 430
Customize Menu ..................................................... 393 Track Bar ................................................................. 432
MAXScript Menu .................................................... 394 Selection Lock Toggle ............................................. 436
Help Menu ............................................................... 394 Coordinate Display ................................................. 437
Toolbars................................................................. 394 Grid Setting Display ............................................... 438
Autodesk VIZ Toolbars ........................................... 394 Time Tag .................................................................. 438
Main Toolbar ........................................................... 395 Add Time Tag Dialog .............................................. 439
Axis Constraints Toolbar ........................................ 396 Edit Time Tag Dialog .............................................. 440
Layers Toolbar ......................................................... 397 Animation and Time Controls.............................. 440
Extras Toolbar ......................................................... 397 Animation and Time Controls................................ 440
Render Shortcuts Toolbar ....................................... 397 Auto Key Animation Mode .................................... 441
Snaps Toolbar .......................................................... 398 Set Key Animation Mode ........................................ 442
Right-Click Menu for Scripted Toolbar Buttons..... 398 Go To Start .............................................................. 445
Quad Menu............................................................ 399 Previous Frame/Key ............................................... 445
Quad Menu.............................................................. 399 Play/Stop ................................................................. 445
Additional Quad Menus.......................................... 401 Next Frame/Key ...................................................... 446
Animation Quad Menu ........................................... 402 Go To End ............................................................... 446
Tool Palettes.......................................................... 403 Current Frame (Go To Frame) ............................... 446
Tool Palettes Set ...................................................... 403 Key Mode ................................................................ 447
New Palette .............................................................. 404 Time Configuration ................................................ 447
Materials in Tool Palettes ..................................... 405 Viewports and Viewport Controls ...................... 451
viii Contents
Viewports ................................................................ 451 Make Unique .......................................................... 491

Viewport Right-Click Menu ................................... 453 Modifier Sets Menu ................................................ 492
Viewport Controls ................................................ 457 Configure Modifier Sets Dialog ............................. 493
Viewport Controls................................................... 457 Hierarchy Panel..................................................... 494
Controls Available in All V iewports .................... 459 Hierarchy Panel ...................................................... 494
Zoom Extents All, Zoom Extents All Selected ....... 459 Motion Panel ......................................................... 495
Maximize Viewport Toggle .................................... 459 Motion Panel .......................................................... 495
Walkthrough Controls for Perspective and Assign Controller Rollout ....................................... 495
Camera Viewports ............................................. 459 Display Panel ........................................................ 496
Pan/Truck and Walkthrough Flyout ....................... 459 Display Panel .......................................................... 496
Walk Through Button ............................................ 460 Display Floater......................................................... 496
Perspective and Orthographic Viewport Utilities Panel ........................................................ 499
Controls .............................................................. 460 Utilities Panel .......................................................... 499
Perspective and Orthographic Viewport Utilities Dialog......................................................... 500
Controls ................................................................ 460 Configure Button Sets Dialog ................................. 500
Zoom Viewport ...................................................... 461 MAXScript Interface ............................................. 501
Zoom All ................................................................. 461 New Script ............................................................... 501
Zoom Extents / Zoom Extents Selected.................. 462 Open Script ............................................................. 502
Field of View Flyout ................................................ 463 Run Script................................................................ 502
Field-of-View Button .............................................. 463 MAXScript Listener ................................................ 502
Zoom Region .......................................................... 464 Macro Recorder....................................................... 503
Pan View ................................................................. 465 Visual MAXScript Utility (See MAXScript
Arc Rotate Flyout..................................................... 465 Reference) ............................................................. 503
Arc Rotate, Arc Rotate Selected, Arc Rotate MAXScript Debugger Dialog.................................. 503
Sub-Object ........................................................... 466 Running Scripts from the Command Line ............. 504
Camera Viewport Controls .................................. 467
Camera Viewport Controls..................................... 467 18 Customizing the User Interface .............. 505
Dolly Camera, Target, or Both ............................... 467 Customizing the User Interface............................... 505
Perspective .............................................................. 468 Customize Display Right-Click Menu .................... 507
Roll Camera ............................................................ 469 Show UI ................................................................... 508
Truck Camera ......................................................... 470 Lock UI Layout........................................................ 508
Orbit/Pan Camera .................................................. 470 Plug-In Manager ..................................................... 508
Light V iewport Controls....................................... 471 Custom UI and Defaults Switcher........................... 509
Light Viewport Controls ......................................... 471 Market-Specific Defaults......................................... 510
Dolly Light, Target, or Both .................................... 472 Customize User Interface Dialog ......................... 511
Light Hotspot .......................................................... 473 Customize User Interface Dialog ............................ 511
Roll Light ................................................................ 475 Keyboard Panel ....................................................... 512
Light Falloff ............................................................. 475 Toolbars Panel ......................................................... 513
Truck Light ............................................................. 476 Quads Panel............................................................. 515
Orbit/Pan Light ...................................................... 477 Menus Panel ............................................................ 517
Command Panels .................................................. 478 Colors Panel............................................................. 519
Command Panel...................................................... 478 Tool Palettes Panel................................................... 520
Object Name and Wireframe Color........................ 479 Advanced Quad Menu Options .............................. 522
Create Panel .......................................................... 479 Edit Button Appearance Dialog .............................. 524
Create Panel ............................................................ 479 Saving and Loading Custom User Interfaces...... 525
Modify Panel ......................................................... 480 Saving and Loading Custom User Interfaces .......... 525
Modify Panel .......................................................... 480 Load Custom UI Scheme ........................................ 527
Modifier Stack Controls .......................................... 481 Save Custom UI Scheme ......................................... 527
Modifier Stack Right-Click Menu........................... 487 Revert to Startup Layout ......................................... 529
Contents ix
Configure Paths .................................................... 529 Select Ellipsoid Dialog............................................. 580

Configure Paths ....................................................... 529 Select Global Coordinate System Dialog ................ 580
Configure User Paths............................................... 529 Units Setup............................................................ 581
Configure System Paths........................................... 531 Units Setup Dialog .................................................. 581
External Path Configuration ................................... 532 System Unit Setup Dialog........................................ 582
File I/O Path Configuration .................................... 533 File Load: Units Mismatch Dialog .......................... 584
XRefs Path Configuration ....................................... 534 Viewport Configuration....................................... 585
3rd Party Plug-Ins Path Configuration................... 535 Viewport Configuration.......................................... 585
Network Plug-In Configuration.............................. 536 Viewport Configuration Dialog.............................. 585
Preferences ........................................................... 536 Rendering Method .................................................. 586
Preferences............................................................... 536 Viewport Layout...................................................... 588
General Preferences................................................. 537 Safe Frames.............................................................. 589
Rendering Preferences............................................. 540 Adaptive Degradation Options............................... 591
Inverse Kinematics Preferences............................... 542 Regions .................................................................... 592
Radiosity Preferences .............................................. 543 Entering Commands by Using Mouse Strokes ... 593
GCS Preferences ..................................................... 544 Strokes ..................................................................... 593
mental ray Preferences ............................................ 545 Defining Strokes ...................................................... 595
Animation Preferences ............................................ 546 Reviewing and Editing Strokes ............................... 597
File Preferences........................................................ 548 Stroke Preferences Dialog ....................................... 598
Gamma Preferences................................................. 550 Strokes Utility.......................................................... 599
Viewport Preferences .............................................. 551
Gizmos Preferences ................................................. 554 19 Default Keyboard Shortcuts ................... 601
MAXScript Preferences........................................... 556 Default Keyboard Shortcuts.................................... 601
Graphics Driver Setup .......................................... 558 Keyboard Shortcut Override Toggle ...................... 602
Graphics Driver Setup Dialog ................................. 558 Communication Center Shortcuts.......................... 602
Configure Driver ..................................................... 560 Edit Poly Shortcuts .................................................. 603
Configure Software Display Driver Dialog ............. 561 Edit/Editable Mesh Shortcuts ................................. 603
Configure OpenGL Dialog...................................... 561 Edit/Editable Patch Shortcuts ................................. 604
Direct3D Driver Setup Dialog................................. 564 Edit/Editable Spline Shortcuts ................................ 604
Configure Direct3D Dialog..................................... 565 Editable Poly Shortcuts ........................................... 604
MIDI Time Slider Control Setup ........................... 567 Free-Form Deformation (FFD) Shortcuts .............. 605
MIDI Time Slider Control Setup Dialog................. 567 Main User Interface Shortcuts ................................ 605
Global Coordinate System Dialogs ..................... 568 Material Editor Shortcuts........................................ 608
Coordinate System Category Manager Dialog ....... 568 NURBS Shortcuts.................................................... 608
Datum Manager Dialog........................................... 569 Object Display Culling Shortcuts............................ 610
Datum Properties Dialog ........................................ 569 Schematic View Shortcuts....................................... 610
Define Datum Dialog .............................................. 570 Tool Palettes Shortcuts ............................................ 610
Define Ellipsoid Dialog ........................................... 571 Track View Shortcuts .............................................. 611
Define Global Coordinate System Dialog............... 571 Unwrap UVW Shortcuts......................................... 611
Edit Category Dialog............................................... 572 Walkthrough Navigation Shortcuts ........................ 617
Ellipsoid Manager Dialog........................................ 573 A Using the Reference Online .................... 619
Ellipsoid Properties Dialog ..................................... 574
Global Coordinate System Manager Dialog ........... 574 B Troubleshooting Autodesk VIZ .............. 629
Global Coordinate System Properties Dialog ......... 575
Glossary .................................................... 649
Modify Datum Dialog ............................................. 576
Modify Ellipsoid Dialog .......................................... 577 Index ......................................................... 751
Modify Global Coordinate System Dialog.............. 577
New Category Dialog .............................................. 579
Select Datum Dialog................................................ 579
x Contents
Effects and Environments
Effects and Environments Environment and Effects Dialog

A variety of special effects, such as film grain, Rendering menu > Environment
depth of field, and lens simulations, are available
Rendering > Effects
as rendering effects (page 3–2). Another set of
effects, such as fog, are provided as environment
You apply effects and environments by using the
effects (page 3–52).
Environment and Effects dialog.
Interface
The fog environment effect adds atmosphere to a street

scene.
In Autodesk VIZ, rendering effects and

environments are both accessed from a single
Environment and Effects dialog (page 3–1).
The Environment and Effects dialog has two

panels, described in the following topics:
2 Chapter 15: Effects and Environments
Effects Panel and Rollout (page 3–3) Rendering Effects and 32–bit
Floating-Point Output
Environment Panel (page 3–53)
Most rendering effects in Autodesk VIZ are not
compatible with 32-bit floating-point output,
such as that provided optionally by the mental
ray renderer (see Frame Buffer Type). If you
Rendering Effects render using one or more unsupported effects, the
following dialog appears:
Introduction to Rendering Effects

Rendering Effects enable you to add
post-production effects without having to
render the scene to see the results. Through the
Effects panel (page 3–3) on the Environment and
Effects dialog, you can add various effects and
view them prior to final rendering of an image or
animation.
Render Effects let you work interactively. As you
adjust an effect’s parameters, the rendered frame
window (page 2–1318) is updated with the final
output image of both the scene geometry and the You can choose to continue rendering without the
applied effects. You can also choose to continually unsupported effects, or cancel the render.
work with an effect and then update the effect The only supported effects are File Output and
manually. Color Balance; the rest (shown in the dialog above)
The following topics explain each Render Effect are unsupported.
in detail.
Lens Effects Rendering Effects (page 3–4) Rendering Effects Command
Blur Rendering Effect (page 3–41)
Rendering menu > Effects > Environment and Effects
dialog > Effects panel
Brightness and Contrast Rendering Effect (page
3–46)
Effects displays the Effects panel (page 3–3) on the
Color Balance Rendering Effect (page 3–46) Environment and Effects dialog, which lets you set
parameters for post-rendering effects.
Depth of Field Rendering Effect (page 3–50)
From this panel, you can select and assign a
File Output Rendering Effect (page 3–47)
class of plug-in called Render Effect, which is a
Film Grain Rendering Effect (page 3–49) post-rendering image-processing effect.
Motion Blur Rendering Effect (page 3–50) Render Effects have the added advantage of
allowing animated parameters and references to
Effects Panel and Rollout 3
scene objects. You can also adjust and view the Delete—Removes a highlighted effect from the
effects interactively. window and from the scene.
Active—Specifies whether the selected effect
is active in the scene. On by default; you can
Effects Panel and Rollout deactivate an effect without actually removing it by
Rendering menu > Effects > Environment and Effects selecting it in the window and turning off Active.
dialog > Effects panel
Move Up—Moves the highlighted effect up in the
You can use the Effects panel to: window list.
• Assign a Render Effects plug-in. Move Down—Moves the highlighted effect down
in the window list.
• Adjust and view effects interactively.
• Animate parameters and references to scene Merge—Merges rendering effects from scene
objects. (.max) files. Clicking Merge displays a file dialog
from which you can choose a .max file. A dialog
Interface then appears listing all rendering effects in that
scene.
Preview group
Effects—When All is chosen, all of the active
effects are applied to the preview. When Current
is chosen, only the highlighted effects are applied
to the preview.
Interactive—When on, changes occur interactively
in the rendered frame window (page 2–1318)
as you adjust the parameters of an effect. When
Interactive is not activated, you can click one of
the update buttons to preview the effect.
Show Original/Show Effects toggle—Click Show
Original to display the original rendered image
without any of the effects applied. Click Show
The Effects panel has one main rollout, Effects,
Effects to display the rendered image with the
with the following options:
effects.
Effects—Displays a list of selected effects.
Update Scene—Updates the rendered frame
Name—Displays the name of the selected effect. window with all changes made in Rendering
Edit this field to rename the effect. Effects as well as any changes made to the scene
itself.
Add—Displays a dialog listing all available
rendering effects. Select the effect you want added Update Effect—Manually updates the preview
to the window list, and then click OK. rendered frame window when Interactive is
not on. What is shown in the rendered frame
window is only an update of any changes made in
Rendering Effects. Any changes made to the scene • Merge—Results in two effects in the scene
itself will not be rendered. with the same name.
• Delete Old—Removes the existing effect in
the scene.
Merging Effects
• Apply To All Duplicates—Performs the same
Rendering menu > Effects > Environment and Effects action on all subsequent matching effects.
dialog > Effects panel > Merge
The Merge button on the Effects panel (page 3–3)

lets you merge effects from other Autodesk VIZ
(.max) scene files.
Lens Effects Rendering
See also Effects
Merge (page 3–97) Rendering menu > Effects > Environment and Effects
dialog > Effects panel > Add > Add Effect dialog > Lens
Replace (page 3–99) Effects
Procedures
To merge an atmospheric effect:
1. Choose Rendering menu > Effects to display
the Effects panel.
2. On the Effects rollout, click Merge.
A Merge Effect dialog appears for file selection.
3. Select a .max scene.
A Merge Atmospheric Effects dialog lists the
effects in the specified file.
4. Select one or more of the effects, and then click
Lens flares added as lens effects
OK to merge them into the scene.
Only atmospheric effects appear in the merge Lens Effects is a system used to create real-life
list, but when an effect is merged, any lights or effects commonly associated with a camera. These
gizmos bound to the effect are merged as well. effects include Glow (page 3–7), Ring (page 3–11),
Ray (page 3–15), Auto Secondary (page 3–19),
To resolve conflicts when merged effects have the Manual Secondary (page 3–23), Star (page 3–27),
same name: and Streak (page 3–31).
• If an effect of the same type and name already
exists in the scene, an alert appears. Choose
Procedures
from among these options: To add an effect:
• Name field—Allows you to rename the 1. Select the desired effect from the list on the left
incoming effect. side of the Lens Effects Parameters rollout.
Lens Effects Rendering Effects 5
2. Click the (>) arrow button to move it into the previous configuration of Lens Effects. This allows
column on the right. you to load and use Lens Effects that have been
saved from previous sessions of the software.
To delete an applied effect:
Save—Displays the Save Lens Effects file dialog
1. Select the effect from the list on the right side of that enables you to save an LZV file. The LZV file
the Lens Effects Parameters rollout. format contains information saved from a previous
2. Click the (<) arrow button to remove it from configuration of Lens Effects. This allows you to
the list. save several types of Lens Effects and use them in
multiple Autodesk VIZ scenes.
Interface Note: Saving an effect as an LZV file will only save
Lens Effects Parameters rollout the attributes of the effect on the frame that it is
saved at. The LZV file format doesn’t save the
animation keys of an animated parameter.
Size—Affects the size of the overall Lens Effect.
This value is a percentage of the size of the
rendered frame.
Intensity—Controls the overall brightness and
opacity of the Lens Effect. Higher values produce
The Lens Effects system allows you to apply effects a bright, more opaque effect, and lower values
to your rendered image by choosing a particular produces a dim, transparent effect.
effect from the list on the left and adding it to the
list on the right. Each effect has its own rollout Seed—Gives the random number generator in
of parameters, but all effects share two panels of Lens Effects a different starting point, which
global parameters. creates a slightly different Lens Effect without
changing any settings. Using Seed guarantees a
Lens Effects Globals rollout, Parameters panel different Lens Effect, even if the differences are
very small. For example, if you set up a Ray effect,
you will get slightly different rays in the lens flare if
you adjust the seed value.
Angle—Affects the amount that the Lens Effect
rotates from its default position, as the position of
the effect changes relative to the camera.
Squeeze—Squeezes the size of the overall
Lens Effect, either horizontally or vertically to
compensate for different frame aspect ratios.
Positive values stretch the effect horizontally, and
negative values stretch it vertically. The value is
a percentage of the size of the flare. Range=100
Load—Displays the Load Lens Effects file dialog to -100.
that enables you to open an LZV file. The LZV
file format contains information saved from a
Lights group Distance Affects—Allows distance from the camera

or viewport to affect the size and/or the intensity
Allows you to choose lights to apply Lens Effects to.
of the effect.
Pick Light—Enables you to select a light directly
Off-Center Affects—Allows an effect that is
through the viewports. You can also select a light
off-center from the camera or viewport to affect
by pressing H to display the Select Objects dialog
the size and/or the intensity of the effect.
(page 1–74).
Direction Affects—Allows direction of spot lights
Remove Light—Removes a selected light.
with respect to the camera or viewport to affect
Drop-down list—Provides quick access to lights the size and/or the intensity of the effect.
that you have added to the Lens Effect.
The size and intensity of the effect are at a
Lens Effects Globals rollout, Scene panel maximum when the light is pointed at the camera
(or viewport).
Occlusion group
Occlusion is used to determine when a Lens Effect
will be affected by an object that comes between
the effect and the camera. By using two spinners
to determine occlusion you can have scene objects
realistically affect the look of your effect. The outer
radius will determine when another scene object
will begin to occlude and the inner radius will
determine when the scene object will cause the
effect to reach maximum occlusion.
Affect Alpha—Specifies whether or not the Lens Inner Radius—Sets the inner radius around the
Effect affects the alpha channel of an image when effect that another scene object must intersect in
the image is rendered in a 32-bit file format. The order to completely occlude the effect.
alpha channel is an extra 8 bits of color (256 Outer Radius—Sets the outer radius around the
colors) that indicate transparency in an image. effect that another scene object must intersect in
Alpha channels are used to composite one image order to begin to occlude the effect.
seamlessly over the top of another. If you want to
composite a Lens Effect, or an image that contains Size—Decreases the size of the effect when being
a Lens Effect, over the top of another image, enable occluded.
this option. If you are not rendering to a 32-bit file, Intensity—Decreases the intensity of the effect
do not enable this option. when being occluded.
Affect Z Buffer—Stores an object’s distance from Affected by Atmosphere—Allows Atmospheric
the camera. The Z-Buffer is useful for optical Effects to occlude Lens Effects.
effects. When this option is enabled, the linear
distance of the Lens Effect is recorded, and can
be used in special effects that make use of the
Z-Buffer.
Glow Lens Effect 7
Interface
Glow Lens Effect Glow Element rollout, Parameters panel
Effects > Choose Glow, and click the (>) arrow button.
Adding glow to the light
Glow lets you add a glowing aura around any

assigned object. Adding a glow to objects can
make them seem as though they are brighter and
hotter.
Warning: This effect is not supported by the mental ray
renderer (page 2–1377).
Name—Displays the name of the effect. With Lens
Effects you can have many different effects under
one instance of Lens Effects. To keep them in
order, it is often necessary to name them to make
sure that when you change parameters you are
changing the parameters to the correct effect.
On—Applies the effect to the rendered image when
activated.
Size—Determines the size of the effect.

opacity of the individual effect. Higher values
produce a bright, more opaque effect, and lower
values produces a dim, transparent effect.
Glow Behind—Gives the effect the ability to be
displayed behind objects in your scene.
Occlusion—Determines how much the Lens only use values set in Radial Color while setting the
Effects Scene Occlusion parameters will affect the spinner at 100 will only use values set in Circular
particular effect. The value entered determines Color. Any value between 0 and 100 will mix
what percentage of occlusion set in the Lens Effects between the two values.
Globals panel will be applied.
Falloff Curve—Displays the Circular Falloff dialog
Squeeze—Determines whether the effect will (page 3–35) in which you can set weights for the
be squeezed. When activated the effect will be colors used in Circular Color. By manipulating the
squeezed according to Lens Effects Globals under Falloff Curve you can make the effect use more of
the Parameters panel in the Squeeze spinner. one color or map than another. You can also use a
map to determine the falloff when a light is used
Use Source Color—Mixes the source color of the
as a Lens Effects source.
light or object you are applying the effect to and
the color or mapping set in the Radial Color or
Radial Size group
Circular Color parameters. A value of 0 uses only
the values set in the Radial Color and Circular Determines the radial size around the particular
Color parameters while a value of 100 uses only the Lens Effect. Clicking the Size Curve button
light or objects source color. Any value between 0 displays the Radial Size dialog (page 3–40). Using
and 100 will render a mix between the source color the Radial Size dialog you can create points on
and the effect’s color parameters. a line and move those points along a graph to
determine where the effect should be placed
Radial Color group around the light or object. You can also use a map
to determine where the effect should be placed. A
The Radial Color settings affect the inner and
check box is used to activate the map.
outer colors of the effect. You can set the color
swatches to set the inner and outer colors of the
Lens Effect. You can also use bitmaps such as
Gradient or Cellular to determine the radial color.
Falloff Curve—Displays the Radial Falloff dialog
(page 3–38) in which you can set weights for the
colors used in Radial Color. By manipulating the
Falloff Curve you can make the effect use more of
one color or map than the other. You can also use
a map to determine the falloff when a light is used
Circular Color group

Circular Color determines the color of the effect
by using four different color swatches that are
matched to the four quadrants of the effect. A map
can also be used to determine circular color.
Mix—Mixes colors set in Radial Color and colors
set in Circular Color. Setting the spinner at 0 will
Glow Lens Effect 9
Glow Element rollout, Options panel channel (page 2–1073) assigned to it. Assign the
Material ID channel in the Material Editor, using
the Material ID channel flyout (page 2–1074).
The Lens Effect will be applied only to areas of
the geometry where that particular ID channel is
present.
Tip: In some cases you might want to apply different
Lens Effects settings to different pieces of geometry
or IDs. To accomplish this, add additional Lens
Effects entries to the Lens Effects Parameters list.
Then set each different Lens Effect entry to affect a
different Material ID or Object ID and proceed.
Unclamp—An unclamped color is brighter than
pure white (255,255,255). The software keeps
track of these "hot" areas which tend to show
up when your scene contains bright metallic
highlights or explosions. This spinner lets you
determine the lowest pixel value that the Lens
Effect is applied to. Pure white has a pixel value of
1. When this spinner is set to 1, any pixels with
Apply Element To group a value above 255 will be glowed. You can invert
Lights—Applies the effect to lights picked in Lens this value by clicking the I button to the right of
Effects Globals under the Parameters tab in the the spinner.
Lights group box. Surf Norm—Applies the Lens Effect to part of
Image—Applies the effect to the rendered image an object, based on the angle of the surface
using parameters set in Image Sources. normal to the camera. A value of 0 is coplanar, or
parallel to the screen. A value of 90 is normal, or
Image Centers—Applies to the center of an object perpendicular to the screen. If you set Surf Norm
or to portions of an object as determined by the to 45, only surfaces with normal angles greater
Image Filters. than 45 degrees will be glowed. You can invert this
value by clicking the I button to the right of the
Image Sources group spinner. This parameter can be animated.
Object ID—Applies the Lens Effect to particular
Whole—Applies the Lens Effect to the whole scene,
objects in your scene that have a corresponding not just a particular piece of geometry. This, in
G-Buffer (page 3–681) (or Object) ID. The effect, makes each pixel in the scene a potential
G-Buffer is a geometry buffer and can be defined Lens Effect source. The areas of the scene that have
when you right-click any object and select the Lens Effect applied to them are determined by
Properties from the menu. Then, set the Object the settings in the Image Filters group box.
Channel ID under the G-Buffer ID controls.
Alpha—Applies the Lens Effect to the alpha
Material ID—Applies the Lens Effect to an object
channel of an image. The transparency of an alpha
or part of an object with a specific Material ID
channel is interpreted opposite that of the Mask might need to use the Perimeter option at times
channel. Range=0 to 255. when the alpha channel is unavailable.
Z Hi/Z Lo—Highlights objects based on their Bright—Filters the source objects based on their
distance (Z-Buffer distance) from the camera. The brightness values. The effect is only applied to
Hi value is the maximum distance and the Lo value objects with a brightness above the spinner setting
is the minimum. Any objects between these two This option can be inverted by clicking the I
Z-Buffer distances will be highlighted. button next to the spinner
Hue—Filters the source objects by their hue. Select
Image Filters group
the hue by clicking the color swatch next to the
Filters the Image Sources selections to let you spinner. You can choose hue values from 0 to 255.
control how the Lens Effect is applied. For The spinner beside the Hue color swatch lets you
example, you can have ten spheres in your scene, enter a variance level so that the glow can find
each with the same Object ID, but different colors. several different hues in the same range as the
If you set the Image Source as the Object ID of the chosen color
spheres, which selects all of the spheres, these will
be the only objects in the scene that Lens Effects Additional Effects group
will apply an effect to.
Additional Effects allows you to apply maps such
However, now that Lens Effects knows where the as Noise to your Lens Effect. You can display the
pixels are that effects can be applied, it needs to Material/Map browser by clicking the long button
know which ones to actually apply the effect to. next to the Apply check box.
Lens Effects uses the filter controls to find out
Apply—Applies the selected map when activated.
which source pixels to apply the effect to.
Radial Density—Determines where and how much
All—Selects all source pixels in the scene and
you would like the additional effects applied.
applies the Lens Effect to them.
Clicking the Radial Density button displays the
Edge—Selects all source pixels along a boundary Radial Density dialog (page 3–37). Using the
edge and applies the Lens Effect to them. Applying Radial Density dialog you can create points on
a Lens Effect along the edges of objects produces a line and move those points along a graph to
a soft halo that exists on both inside and outside determine where the additional effect should be
edges of your object. placed around the light. You can also use a map
to determine where the additional effect should
Perim(eter) Alpha—Applies the Lens Effect only
be placed.
to the perimeter of an object based on its alpha
channel. Selecting this option applies the effect
only on the outside of an object without any
spill on the interior. Whereas filtering by Edge
produces a spill onto the object, Perimeter Alpha
keeps all of the edges clean because it relies on the
scene alpha channel to derive its effect.
Perim(eter)—Applies the Lens Effect only to the
perimeter of an object based on Edge interference.
Although not as precise as Perimeter Alpha, you
Ring Lens Effect 11
Interface
Ring Lens Effect Ring Element rollout, Parameters panel
Effects > Choose Ring, and click the (>) arrow button.
Adding a ring to the light
The ring is a circular color band that surrounds

the center of the source object.
Warning: This effect is not supported by the mental ray
renderer (page 2–1377).
Name—Displays the name of the effect. With Lens

Effects you can have many different effects under
one instance of Lens Effects. To keep them in
order, it is often necessary to name them to make
activated. Default = on.

Plane—Sets the location of the effect along the axis

of the effect which extends from the center of the
effect through the center of the screen.
Thickness—Determines the thickness, in pixels,
of the effect.
displayed behind objects in your Autodesk VIZ
scene.
Occlusion—Determines how much the Lens
Effects Scene Occlusion parameters will affect the
particular effect. The value entered determines
what percentage of occlusion set in the Lens Effects
Globals panel will be applied. Ring using radial colors as seen in lower left inset
Squeeze—Determines whether the effect will Falloff Curve—Displays the Radial Falloff dialog
be squeezed. When activated the effect will be (page 3–38) in which you can set weights for the
squeezed according to Lens Effects Globals under colors used in Radial Color. By manipulating the
the Parameters panel in the Squeeze spinner. Falloff Curve you can make the effect use more of
a map to determine the falloff.
light or object you are applying the effect to with
the color or mapping set in the Radial Color or Circular Color group
the values set in the Radial Color and Circular Circular Color determines the color of the effect
Color parameters while a value of 100 uses only the by using four different color swatches that are
light or objects source color. Any value between 0 matched to the four quadrants of the effect. A map
and 100 will render a mix between the source color can also be used to determine circular color.
and the effect’s color parameters.
Radial Color group

gradient or cellular to determine the radial color.
Ring using circular colors as seen in lower right inset

Ring Lens Effect 13
Mix—Mixes colors set in Radial Color and colors Ring Element rollout, Options panel
only use values set in Radial Color while setting the
spinner at 100 will only use values set in Circular
Color. Any value between 0 and 100 will mix
between the two values.
Ring using radial and circular colors mixed 50/50

Apply Element To
(page 3–35) in which you can set weights for the Lights—Applies the effect to lights picked in Lens
colors used in Circular Color. By manipulating the Effects Globals under the Parameters tab in the
Falloff Curve you can make the effect use more of Lights group box.
one color or map than another. You can also use a Image—Applies the effect to the rendered image
map to determine the falloff when a light is used using parameters set in Image Sources.
Image Centers—Applies to the center of an object
Radial Size group or to portions of an object as determined by the
Image Filters.
Determines the radial size around the particular
Lens Effect. Clicking the Size Curve button Image Sources group
displays the Radial Size dialog (page 3–40). Using
the Radial Size dialog you can create points on Object ID—Applies the Lens Effect to particular
a line and move those points along a graph to objects in your scene that have a corresponding
determine where the effect should be placed G-Buffer (page 3–681) (or Object) ID. The
around the light or object. You can also use a map G-Buffer is a geometry buffer and can be defined
to determine where the effect should be placed. A when you right-click any object and select
check box is used to activate the map. Properties from the menu. Then, set the Object
channel (page 2–1073) assigned to it. Assign the channel is interpreted opposite that of the Mask
Material ID channel in the Material Editor, using channel. Range=0 to 255.
Z Hi/Z Lo—Highlights objects based on their
distance (Z-Buffer distance) from the camera. The
Hi value is the maximum distance and the Lo value
present.
is the minimum. Any objects between these two
Tip: In some cases you might want to apply different Z-Buffer distances will be highlighted.
or IDs. To accomplish this, add additional Lens Image Filters group
Filters the Image Sources selections to let you
control how the Lens Effect is applied. For
example, you can have ten spheres in your scene,
Unclamp—An unclamped color is brighter than each with the same Object ID, but different colors.
pure white (255,255,255). The software keeps If you set the Image Source as the Object ID of the
track of these "hot" areas which tend to show spheres, which selects all of the spheres, these will
up when your scene contains bright metallic be the only objects in the scene that Lens Effects
highlights or explosions. This spinner lets you will apply an effect to.
However, now that Lens Effects knows where the
pixels are that effects can be applied, it needs to
know which ones to actually apply the effect to.
a value above 255 will be glowed. You can invert
this value by clicking the I button to the right of
the spinner.
Surf Norm—Applies the Lens Effect to part of
an object, based on the angle of the surface
normal to the camera. A value of 0 is coplanar, or Edge—Selects all source pixels along a boundary
parallel to the screen. A value of 90 is normal, or edge and applies the Lens Effect to them. Applying
perpendicular to the screen. If you set Surf Norm a Lens Effect along the edges of objects produces
to 45, only surfaces with normal angles greater a soft halo that exists on both inside and outside
than 45 degrees will be glowed. You can invert this edges of your object.
spinner.
Whole—Applies the Lens Effect to the whole scene, channel. Selecting this option applies the effect
not just a particular piece of geometry. This, in only on the outside of an object without any
effect, makes each pixel in the scene a potential spill on the interior. Whereas filtering by Edge
Lens Effect source. The areas of the scene that have produces a spill onto the object, Perimeter Alpha
the Lens Effect applied to them are determined by keeps all of the edges clean because it relies on the
the settings in the Image Filters group box. scene alpha channel to derive its effect.
Alpha—Applies the Lens Effect to the alpha Perim(eter)—Applies the Lens Effect only to the
channel of an image. The transparency of an alpha perimeter of an object based on Edge interference.
Ray Lens Effect 15
might need to use the Perimeter option at times

when the alpha channel is unavailable. Ray Lens Effect
Bright—Filters the source objects based on their Rendering menu > Effects > Environment and Effects
brightness values. The effect is only applied to Effects > Choose Ray, and click the (>) arrow button.
objects with a brightness above the spinner setting
This option can be inverted by clicking the I
button next to the spinner
spinner. You can choose hue values from 0 to 255.
The spinner beside the Hue color swatch lets you
enter a variance level so that the glow can find
several different hues in the same range as the
chosen color
Additional Effects group

Additional Effects allows you to apply maps such Adding rays to the light
as Noise to your Lens Effect. You can display the
Material/Map browser by clicking the long button Rays are bright lines that radiate from the center of
next to the Apply check box. the source object, providing the illusion of extreme
brightness for the object. Rays let you emulate
Apply—Applies the selected map when activated. scratches in the lens elements of a camera.
Radial Density dialog (page 3–37). Using the
Radial Density dialog you can create points on
a line and move those points along a graph to
determine where the additional effect should be
placed around the light. You can also use a map
be placed.
Interface Num—Specifies the overall number of rays that

Ray Element rollout, Parameters panel appear in the lens flare. Rays are randomly spaced
around the radius.
Angle—Specifies the angle for the rays. You
can enter both positive and negative values so,
when animated, the rays rotate in a clockwise or
counterclockwise direction.
Sharp—Specifies the overall sharpness of the rays.
Higher numbers produce crisp, clean, and clear
rays. Lower numbers produce more of a secondary
glow look. Range=0 to 10.
scene.
Squeeze—Determines whether the effect will
be squeezed. When activated, the effect will be
squeezed according to Lens Effects Globals under
the Parameters panel in the Squeeze spinner.
Name—Displays the name of the effect. With Lens the color or mapping set in the Radial Color or
Effects you can have many different effects under Circular Color parameters. A value of 0 uses only
one instance of Lens Effects. To keep them in the values set in the Radial Color and Circular
order, it is often necessary to name them to make Color parameters while a value of 100 uses only the
sure that when you change parameters you are light or objects source color. Any value between 0
changing the parameters to the correct effect. and 100 will render a mix between the source color
Radial Color group
Intensity—Controls the overall brightness and outer colors of the effect. You can set the color
opacity of the individual effect. Higher values swatches to set the inner and outer colors of the
produce a bright, more opaque effect, and lower Lens Effect. You can also use bitmaps such as
values produces a dim, transparent effect. Gradient or Cellular to determine the radial color.
Ray Lens Effect 17
Falloff Curve—Displays the Radial Falloff dialog Ray Element rollout, Options panel

Mix—Allows you to mix between colors set in
Radial Color and colors set in Circular Color.
Setting the spinner at 0 will only use values set
in Radial Color while setting the spinner at 100
will only use values set in Circular Color. Any
value between 0 and 100 will mix between the two
values.
Apply Element To group
(page 3–35) in which you can set weights for the Lights—Applies the effect to lights picked in Lens
colors used in Circular Color. By manipulating the Effects Globals under the Parameters tab in the
Falloff Curve you can make the effect use more of Lights group box.
one color or map than another. You can also use a
Image—Applies the effect to the rendered image
using parameters set in Image Sources.
Radial Size group or to portions of an object as determined by the
Image Filters.
Lens Effect. Clicking the Size Curve button
Image Sources group
the Radial Size dialog you can create points on Object ID—Applies the Lens Effect to particular
a line and move those points along a graph to objects in your scene that have a corresponding
determine where the effect should be placed G-Buffer (page 3–681) (or Object) ID. The
around the light or object. You can also use a map G-Buffer is a geometry buffer and can be defined
to determine where the effect should be placed. A when you right-click any object and select
check box is used to activate the map. Properties from the menu. Then, set the Object
present.
the spinner.
spinner.
Whole—Applies the Lens Effect to the whole scene,
not just a particular piece of geometry. This, in
effect, makes each pixel in the scene a potential
Lens Effect source. The areas of the scene that have
the Lens Effect applied to them are determined by
the settings in the Image Filters group.
channel of an image. The transparency of an alpha
Auto Secondary Lens Effect 19

Material/Map browser by clicking the long button
next to the Apply check box.

Edge filter applied to rays emanating from object a line and move those points along a graph to
Perim(eter) Alpha—Applies the Lens Effect only determine where the additional effect should be
to the perimeter of an object based on its alpha placed around the light. You can also use a map
channel. Selecting this option applies the effect to determine where the additional effect should
only on the outside of an object without any be placed.
spill on the interior. Whereas filtering by Edge
produces a spill onto the object, Perimeter Alpha
keeps all of the edges clean because it relies on the Auto Secondary Lens Effect
scene alpha channel to derive its effect.
Perim(eter)—Applies the Lens Effect only to the Effects > Choose Auto Secondary, and click the (>) arrow
perimeter of an object based on Edge interference. button.
when the alpha channel is unavailable.
Bright—Filters the source objects based on their
brightness values. The effect is only applied to
enter a variance level so that the glow can find Adding secondary flares to the light
several different hues in the same range as the Secondary flares are the small circles you would
chosen color normally see coming out from the source of the
lens flare along an axis relative to the camera
position. These are caused by light refracting off
the different lens elements in the camera. As the
camera position changes relative to the source Max—Controls the maximum size of secondary
object, the secondary flares move. flares in the current set. This number is defined as
a percentage of the overall image.
Interface
Axis—Defines the overall length of the axis the
Auto Secondary Element rollout, Parameters automatic secondary flares will be distributed
panel along. Increasing the value creates more space
between the flares, while decreasing the value
creates less space between the flares. You can set
the axis from 0 to 10 degrees.
Qty—Controls the number of secondary flares that
appear in the current set of flares.
light or object you are applying the effect to with
the values set in the Radial Color and Circular
Color parameters while a value of 100 uses only the
light or objects source color. Any value between 0
and 100 will render a mix between the source color
Sides—Controls the shape of the secondary flares
for the current set. The default is circular, but you
can choose from 3- to 8-sided secondary flares.
Name—Displays the name of the effect. With
Lens Effects you can have many different effects
under one instance of Lens Effects. To keep them
in order, it is necessary to name them to make
changing the parameters to the correct effect. Presets (drop-down list)—Displays a list of preset
values that can be selected and applied to the
rendered scene.
Min—Controls the minimum size of secondary
flares in the current set. This number is defined as
a percentage of the overall image.
Auto Secondary Lens Effect 21
Radial Color group displays the Radial Size dialog (page 3–40). Using
the Radial Size dialog you can create points on
around the light or object. You can also use a map
Lens Effect. Each color swatch has a percentage
spinner that determines at what point that color
should stop and the next should start. You can
also use bitmaps such as gradient or cellular to
Auto Secondary Element rollout, Options panel
determine the radial color.

Mix—Allows you to mix between colors set in
Radial Color and colors set in Circular Color.
Setting the spinner at 0 will only use values set Apply Element To group
in Radial Color while setting the spinner at 100
Lights—Applies the effect to lights picked in Lens
will only use values set in Circular Color. Any
Effects Globals under the Parameters tab in the
value between 0 and 100 will mix between the two
Lights group box.
values.
Image—Applies the effect to the rendered image
using parameters set in Image Sources.
colors used in Circular Color. By manipulating the Image Centers—Applies to the center of an object
Falloff Curve you can make the effect use more of or to portions of an object as determined by the
one color or map than another. You can also use a Image Filters.
as a Lens Effects source. Image Sources group
Object ID—Applies the Lens Effect to particular
Radial Size group
objects in your scene that have a corresponding
Determines the radial size around the particular G-Buffer (page 3–681) (or Object) ID. The
Lens Effect. Clicking the Size Curve button G-Buffer is a geometry buffer and can be defined
when you right-click any object and select the Lens Effect applied to them are determined by
Properties from the menu. Then, set the Object the settings in the Image Filters group box.
Material ID—Applies the Lens Effect to an object channel of an image. The transparency of an alpha
or part of an object with a specific Material ID channel is interpreted opposite that of the Mask
channel (page 2–1073) assigned to it. Assign the channel. Range=0 to 255.
Material ID channel in the Material Editor, using
present.
Z-Buffer distances will be highlighted.
Tip: In some cases you might want to apply different
Lens Effects settings to different pieces of geometry Image Filters group
or IDs. To accomplish this, add additional Lens
each with the same Object ID, but different colors.
Unclamp—An unclamped color is brighter than If you set the Image Source as the Object ID of the
pure white (255,255,255). The software keeps spheres, which selects all of the spheres, these will
track of these "hot" areas which tend to show be the only objects in the scene that Lens Effects
up when your scene contains bright metallic will apply an effect to.
highlights or explosions. This spinner lets you
the spinner. All—Selects all source pixels in the scene and
an object, based on the angle of the surface Edge—Selects all source pixels along a boundary
normal to the camera. A value of 0 is coplanar, or edge and applies the Lens Effect to them. Applying
parallel to the screen. A value of 90 is normal, or a Lens Effect along the edges of objects produces
perpendicular to the screen. If you set Surf Norm a soft halo that exists on both inside and outside
to 45, only surfaces with normal angles greater edges of your object.
than 45 degrees will be glowed. You can invert this
spinner.
channel. Selecting this option applies the effect
Whole—Applies the Lens Effect to the whole scene, only on the outside of an object without any
not just a particular piece of geometry. This, in spill on the interior. Whereas filtering by Edge
effect, makes each pixel in the scene a potential produces a spill onto the object, Perimeter Alpha
Lens Effect source. The areas of the scene that have
Manual Secondary Lens Effect 23

scene alpha channel to derive its effect. Manual Secondary Lens Effect
Perim(eter)—Applies the Lens Effect only to the Rendering menu > Effects > Environment and Effects
perimeter of an object based on Edge interference. Effects > Choose Manual Secondary, and click the (>)
Although not as precise as Perimeter Alpha, you arrow button.
when the alpha channel is unavailable. Manual secondary flares are additional secondary
flares that are individually added to the lens flare.
These can be used in addition to, or in place of
auto secondary flares (page 3–19).
This option can be inverted by clicking the I You use Manual Secondary flares when you want
button next to the spinner to add unique flares that you don’t want repeated.

chosen color


be placed.
Interface Intensity—Controls the overall brightness and

Manual Secondary Element rollout, Parameters opacity of the individual effect. Higher values
panel produce a bright, more opaque effect, and lower
Plane—Controls the distance, in degrees, between
the flare source and the manual secondary flare.
By default, the flare plane exists at the center of the
chosen node source. Positive values place the flare
in front of the source, while negative values place
the flare behind the flare source.
Color parameters while a value of 100 uses only the
and 100 will render a mix between the source color
Sides—Controls the shape of the secondary flares
for the current set. The default is circular, but you
can choose from 3- to 8-sided secondary flares.
Presets (drop-down list)—Displays a list of preset
values that can be selected and applied to the
Name—Displays the name of the effect. With rendered scene.
Lens Effects you can have many different effects
On—Applies the effect to the rendered image when Radial Color group
activated. Default = on. The Radial Color settings affect the inner and
Size—Determines the size of the effect. outer colors of the effect. You can set the color
Manual Secondary Lens Effect 25
Lens Effect. You can also use bitmaps such as Manual Secondary Element rollout, Options
gradient or cellular to determine the radial color. panel


only use values set in Radial Color while setting the
spinner at 100 will only use values set in Circular
Color. Any value between 0 and 100 will mix
between the two values. Apply Element To group
Falloff Curve—Displays the Circular Falloff dialog Lights—Applies the effect to lights picked in Lens
(page 3–35) in which you can set weights for the Effects Globals under the Parameters tab in the
colors used in Circular Color. By manipulating the Lights group box.
one color or map than another. You can also use a Image—Applies the effect to the rendered image
map to determine the falloff when a light is used using parameters set in Image Sources.
as a Lens Effects source. Image Centers—Applies to the center of an object
or to portions of an object as determined by the
Radial Size group Image Filters.
Lens Effect. Clicking the Size Curve button Image Sources group
displays the Radial Size dialog (page 3–40). Using Object ID—Applies the Lens Effect to particular
the Radial Size dialog you can create points on objects in your scene that have a corresponding
a line and move those points along a graph to G-Buffer (page 3–681) (or Object) ID. The
determine where the effect should be placed G-Buffer is a geometry buffer and can be defined
around the light or object. You can also use a map when you right-click any object and select
to determine where the effect should be placed. A Properties from the menu. Then, set the Object
check box is used to activate the map. Channel ID under the G-Buffer ID controls.
Material ID—Applies the Lens Effect to an object Alpha—Applies the Lens Effect to the alpha
or part of an object with a specific Material ID channel of an image. The transparency of an alpha
present.
the spinner.
spinner.
Star Lens Effect 27
Perim(eter)—Applies the Lens Effect only to the

perimeter of an object based on Edge interference. Star Lens Effect
might need to use the Perimeter option at times dialog > Effects panel > Add > Add Effect dialog > Lens
when the alpha channel is unavailable. Effects > Choose Star, and click the (>) arrow button.

chosen color
Adding a star to the light
Additional Effects group A Star is larger than a Ray effect (page 3–15) and is
Additional Effects allows you to apply maps such composed of 0 to 30 spokes, instead of hundreds
as Noise to your Lens Effect. You can display the like a ray.

be placed.
Interface Width—Specifies the width of the individual

Star Element rollout, Parameters panel spokes, as a percentage of the overall frame.
Angle—Sets the starting angle in degrees in which
the star spokes point. You can enter both positive
and negative values so, when animated, the star
spokes rotate in a clockwise or counterclockwise
direction.
Taper—Controls the taper of the individual spokes
of the star. Taper widens or narrows the tips of the
individual star points. Low numbers create a sharp
point, while high numbers flare the points.
Sharp—Specifies the overall sharpness of the
star. Higher numbers produce crisp, clean, and
clear stars. Lower numbers produce more of a
secondary glow look. Range=0 to 10.
Qty—Specifies the number of spokes in the star
effect. The default is 6. Spokes are spaced at
equidistant points about the center of the flare.
scene.
Name—Displays the name of the effect. With Globals panel will be applied.
Lens Effects, you can have many different effects
activated.
Size—Determines the size of the effect. Circular Color parameters. A value of 0 uses only
opacity of the individual effect. Higher values Color parameters while a value of 100 uses only the
produce a bright, more opaque effect, and lower light or objects source color. Any value between 0
values produces a dim, transparent effect. and 100 will render a mix between the source color
Star Lens Effect 29
Radial Color group around the light or object. You can also use a map
Star Element rollout, Options panel
gradient or cellular to determine the radial color.
Section Color group

Selection Color determines the color of the effect
by using three different color swatches that are
matched to the three sections of the effect. A map
can also be used to determine section color.
set in Section Color. Setting the spinner at 0 will
only use values set in Radial Color while setting
the spinner at 100 will only use values set in
Section Color. Any value between 0 and 100 will Apply Element To group
mix between the two values.
Lights—Applies the effect to lights picked in Lens
Falloff Curve—Displays the Circular Falloff dialog Effects Globals under the Parameters tab in the
(page 3–35) in which you can set weights for the Lights group box.
colors used in Section Color. By manipulating the
Falloff Curve you can make the effect use more of Image—Applies the effect to the rendered image
one color or map than another. You can also use a using parameters set in Image Sources.
map to determine the falloff when a light is used Image Centers—Applies to the center of an object
as a Lens Effects source. or to portions of an object as determined by the
Image Filters.
Radial Size group
Determines the radial size around the particular Image Sources group
Lens Effect. Clicking the Size Curve button Object ID—Applies the Lens Effect to particular
displays the Radial Size dialog (page 3–40). Using objects in your scene that have a corresponding
the Radial Size dialog you can create points on G-Buffer (page 3–681) (or Object) ID. The
a line and move those points along a graph to G-Buffer is a geometry buffer and can be defined
determine where the effect should be placed when you right-click any object and select
Properties from the menu. Then, set the Object the Lens Effect applied to them are determined by
Channel ID under the G-Buffer ID controls. the settings in the Image Filters group box.
Material ID—Applies the Lens Effect to an object Alpha—Applies the Lens Effect to the alpha
or part of an object with a specific Material ID channel of an image. The transparency of an alpha
present.
the spinner.
spinner.
Streak Lens Effect 31

alpha channel to derive its effect. Streak Lens Effect
Perim(eter)—Applies the Lens Effect only to the Rendering menu > Effects > Environment and Effects
perimeter of an object based on Edge interference. Effects > Choose Streak, and click the (>) arrow button.
when the alpha channel is unavailable.
enter a variance level so that the glow can find Adding a streak to the light
A streak is a wide band that runs through the
chosen color
center of the source object. In real camera work,
Additional Effects group it is produced when using anamorphic lenses to
film a scene.

be placed.
Interface Width—Specifies the width of the streak, as a

Streak Element rollout, Parameters panel percentage of the frame.
Angle—Specifies the angle for the streak. You can
enter both positive and negative values so, when
animated, the streak rotates in a clockwise or
counterclockwise direction.
Taper—Controls the taper of the individual spokes
of the streak. Taper widens or narrows the tips of
the individual streak points. Low numbers create a
sharp point, while high numbers flare the points.
Sharp—Specifies the overall sharpness of the
streak. Higher numbers produce crisp, clean, and
clear streaks. Lower numbers produce more of a
secondary glow look. Range=0 to 10.
scene.
Name—Displays the name of the effect. With squeezed according to Lens Effects Globals under
Lens Effects, you can have many different effects the Parameters panel in the Squeeze spinner.
under one instance of Lens Effects. To keep them Use Source Color—Mixes the source color of the
in order, it is necessary to name them to make light or object you are applying the effect to and
sure that when you change parameters you are the color or mapping set in the Radial Color or
changing the parameters to the correct effect. Circular Color parameters. A value of 0 uses only
On—Applies the effect to the rendered image when the values set in the Radial Color and Circular
activated. Color parameters while a value of 100 uses only the
Size—Determines the size of the effect. and 100 will render a mix between the source color
Intensity—Controls the overall brightness and and the effect’s color parameters.
produce a bright, more opaque effect, and lower Radial Color group
values produces a dim, transparent effect. Falloff Curve—Displays the Radial Falloff dialog
Streak Lens Effect 33
colors used in Radial Color. By manipulating the Streak Element rollout, Options panel
Section Color group

Section Color determines the color of the effect
by using three different color swatches that are
matched to the three sections of the effect. A map
can also be used to determine section color.
set in Section Color. Setting the spinner at 0 will
only use values set in Radial Color while setting
the spinner at 100 will only use values set in
Section Color. Any value between 0 and 100 will
mix between the two values.
colors used in Section Color. By manipulating the
Apply Element To group
one color or map than another. You can also use a Lights—Applies the effect to lights picked in Lens
map to determine the falloff when a light is used Effects Globals under the Parameters tab in the
as a Lens Effects source. Lights group box.
Image—Applies the effect to objects that have a
Radial Size group
corresponding Object ID channel.
Lens Effect. Clicking the Size Curve button
or to portions of an object as determined by the
Image Filters.
the Radial Size dialog you can create points on
Image Sources group
around the light or object. You can also use a map Object ID—Applies the Lens Effect to particular
to determine where the effect should be placed. A objects in your scene that have a corresponding
check box is used to activate the map. G-Buffer (page 3–681) (or Object) ID. The
G-Buffer is a geometry buffer and can be defined
when you right-click any object and select
Properties from the menu. Then, set the Object
present.
the spinner.
spinner.
Alpha—Applies the Lens Effect to the alpha Perim(eter)—Applies the Lens Effect only to the
channel of an image. The transparency of an alpha perimeter of an object based on Edge interference.
Circular Falloff Graph (Lens Effects) 35

when the alpha channel is unavailable. Lens Effects Dialogs
objects with a brightness above the spinner setting Circular Falloff Graph (Lens
This option can be inverted by clicking the I Effects)
Hue—Filters the source objects by their hue. Select dialog > Effects panel > Add > Add Effect dialog > Lens
Effects > Choose any effect, and click the (>) arrow
the hue by clicking the color swatch next to the button. > Parameters tab of the rollout for that effect >
Falloff Curve (under the Circular or Section Color group)
enter a variance level so that the glow can find The Circular Falloff graph allows you to add weight
several different hues in the same range as the to a particular color applied to your Lens Effect.
chosen color By weighting the colors that you apply you can
choose to display more of one color than another.
Additional Effects group You can also make the transition of colors gradual
from one color to the next or you can create a
Additional Effects allows you to apply maps such sharp edge to the transition.

be placed.
Interface
Move—Moves selected points in any direction.
Click and hold the Move button to display the
flyout where you can select a button to move in any
direction, move only in the horizontal direction,
or move only in the vertical direction. The Move
function remains active until you click another
button. The button is yellow while it is active.
Scale Point—Scales a point vertically. Click once
to enable Scale Point. The Scale Point function
remains active until you click another button. The
button is yellow while it is active.
Add Point—Allows you to add points anywhere
along the Circular Falloff curve. Click and hold
Rings with different Circular Falloff settings the Add Point button to display the flyout from
which you can choose a button to add either a
The Circular Falloff graph has controls at the top Corner Point or a Bezier-Smooth Point. Click
for creating and moving points on a curve on once to enable Add Point. The Add Point function
the graph below. The curve represents the range remains active until you click another button. The
of colors you have selected in the Circular Color button is yellow while it is active.
group box to apply to the current Lens Effect.
When you open the graph you will notice that there Delete Point—Deletes selected points.
is already a line with a point on each end which Horizontal Position—Allows you to manually enter
represents the linear transition from one color to a horizontal position value for a selected point.
the next. By placing points along the curve, you
can drag these points to increase or decrease a Vertical Position—Allows you to manually enter a
colors intensity or to eliminate it altogether. vertical position value for a selected point.
Buttons are available at the bottom of the graph Pan—Allows you to click and drag the Circular
that allow you to change the display of the graph. Falloff graph window to move it left and right or
You can also manually enter a horizontal or up and down. Click once to enable panning. Pan
vertical position by entering a value into the two remains active until you click another button. The
entry boxes. button is yellow while it is active.
Radial Density Dialog (Lens Effects) 37
Zoom Extents—Fits the curve within the graph

window both vertically and horizontally so that
the entire curve is visible.
Zoom Horizontal Extents—Fits the curve
horizontally within the graph window so that the
full length of the curve is visible.
Object with different Ray effects due to different Radial
Zoom Vertical Extents—Fits the curve vertically Density settings
within the Circular Falloff graph window so that
The Radial Density dialog has controls at the top
the full height of the curve is visible.
for creating and moving Points on a curve on the
Zoom Horizontally—Scales the width of the graph below. The curve represents the density
Circular Falloff graph window. of the additional effect being applied to the Lens
Effect. When you open the dialog you will notice
Zoom Vertically—Scales the length of the Circular
that there is already a line with a Point on each
Falloff graph window.
end which represents the density of the effect. The
Zoom—Zooms in and out of the entire Circular default falloff is a fade from a density value of 1
Falloff graph window. starting from the center of the effect toward the
outer edges which has a value of 0. This produces
Zoom Region—Allows you to drag a region in
an effect with more density being rendered at the
the Circular Falloff graph window and scale that
center of the effect and a gradual fading out to
region to fill the window.
no density at the edges. By placing Points along
the curve, you can drag these points to increase
or decrease the density of an additional effect or
Radial Density Dialog (Lens eliminate it in some areas altogether.
Effects)
Buttons are available at the bottom of the dialog
Rendering menu > Effects > Environment and Effects that allow you to change the display of the dialog.
Effects > Choose any effect, and click the (>) arrow You can also manually enter a horizontal or
button. > Options tab of the rollout for that effect >
Radial Density (under the Additional Effects group) vertical position by entering a value into the two
entry boxes.
The Radial Density dialog allows you to add
weight to any additional effect applied to the Lens
Effect. By weighting the density of the additional
effect that you apply you can choose particular
areas in the effect to display more of the additional
effect or to eliminate it altogether. You can also use
Radial Density to gradually fade the additional
effect from maximum density down to zero or you
can create a sharp edge to the transition.
Interface
direction, move only in the horizontal direction, Zoom Vertically—Scales the length of the Radial
or move only in the vertical direction. The Move Density dialog window.
Zoom—Zooms in and out of the entire Radial
Density dialog window.
Scale Point—Vertically scales a point up or down.
Zoom Region—Allows you to drag a region in
Click once to enable Scale Point. The Scale Point
the Radial Density dialog window and scale that
region to fill the window.
along the Radial Density curve. Click and hold the Radial Falloff Dialog (Lens Effects)
Add Point button to display the flyout where you
can select a button to add either a Corner Point dialog > Effects panel > Add > Add Effect dialog > Lens
or a Bezier Point. Click once to enable Add Point. Effects > Choose any effect, and click the (>) arrow
button. > Parameters tab of the rollout for that effect >
The Add Point function remains active until you Falloff Curve (under the Radial Color group)
click another button. The button is yellow while
it is active. The Radial Falloff dialog allows you to add weight
Delete Point—Deletes selected points. to a particular color applied to your Lens Effect.
By weighting the colors that you apply you can
Horizontal Position—Allows you to manually enter choose to display more of one color than another.
a horizontal position value for a selected point. You can also make the transition of colors gradual
Vertical Position—Allows you to manually enter a from one color to the next or you can create a
vertical position value for a selected point. sharp edge to the transition.
Pan—Allows you to click and drag the Radial

Density dialog window to move it left and right or
up and down. Click once to enable panning. Pan
remains active until you click another button. The
button is yellow while it is active.
Zoom Extents—Fits the curve within the dialog
horizontally within the dialog window so that the
Zoom Vertical Extents—Fits the curve vertically
within the Radial Density dialog window so that
the full height of the curve is visible.
Zoom Horizontally—Scales the width of the Radial
Density dialog window.
Radial Falloff Dialog (Lens Effects) 39
You can also manually enter a horizontal or

vertical position by entering a value into the two
entry boxes.
Interface
direction, move only in the horizontal direction,
or move only in the vertical direction. The Move
Rings with different Radial Falloff settings
The Radial Falloff graph has controls at the top
along the Circular Falloff curve. Click and hold the
for creating and moving Points on a curve on the
graph below. The curve represents the range of
can select a button to add either a Corner Point
colors you have selected in the Radial Color group
or a Bezier Point. Click once to enable Add Point.
box to apply to the current Lens Effect. When you
The Add Point function remains active until you
open the dialog you will notice that there is already
click another button. The button is yellow while
a line with a Point on each end which represents the
it is active.
linear transition from one color to the next. The
default falloff is a fade from one color at a value of Delete Point—Deletes selected points.
one to the other color which ends at a value of zero.
Horizontal Position—Allows you to manually enter
This produces an effect with more intensity on
a horizontal position value for a selected point.
the first color and a considerable fading out of the
second color. By placing Points along the curve, Vertical Position—Allows you to manually enter a
you can drag these points to increase or decrease a vertical position value for a selected point.
colors intensity or to eliminate it altogether.
Pan—Allows you to click and drag the Radial
Buttons are available at the bottom of the dialog Falloff graph to move it left and right or up and
that allow you to change the display of the dialog. down. Click once to enable panning. Pan remains
active until you click another button. The button

is yellow while it is active.
within the Radial Falloff graph so that the full
height of the curve is visible.
Falloff graph.
Zoom Vertically—Scales the length of the Radial
Falloff graph.
Zoom—Zooms in and out of the entire Radial
Falloff graph.
Zoom Region—Allows you to drag a region in the
Radial Falloff graph and scale that region to fill the
window.
Objects with different Radial Sizes settings applied to Glow

Radial Size Dialog (Lens Effects) By adding and moving points along the curve
Rendering menu > Effects > Environment and Effects you can make areas of the effect extend further
dialog > Effects panel > Add > Add Effect dialog > Lens by moving a point above a value of one on the
Effects > Choose any effect, and click the (>) arrow
button. > Parameters tab of the rollout for that effect > graph. You can also diminish areas of the effect
Falloff Curve (under the Radial Size group) by moving a point between one and zero on the
graph. Finally, you can eliminate areas of the effect
The Radial Size dialog gives you the ability to by moving a point below zero on the graph.
determine the size of your Lens Effect. The Radial
Size dialog displays a curve with a point on each Buttons are available at the bottom of the dialog
end which represents the Radial Size of your Lens that allow you to change the display of the dialog.
Effect. The default position of the curve is one You can also manually enter a horizontal or vertical
which means the Lens Effect will have the same position by entering a value in the two entry boxes.
radius around the center of the effect.
Blur Rendering Effect 41

within the Radial Size graph so that the full height
Interface
of the curve is visible.
Size graph.
direction, move only in the horizontal direction, Zoom Vertically—Scales the length of the Radial
or move only in the vertical direction. The Move Size graph.
Zoom—Zooms in and out of the entire Radial Size
graph.
Zoom Region—Allows you to drag a region in the
Radial Size graph and scale that region to fill the
window.
along the Radial Size curve. Click and hold the Blur Rendering Effect
can select a button to add either a Corner Point dialog > Effects panel > Add > Add Effect dialog > Blur
or a Bezier Point. Click once to enable Add Point.
The Add Point function remains active until you The Blur effect allows you to blur your image in
click another button. The button is yellow while three different methods: Uniform, Directional,
it is active. and Radial. Blur works on individual pixels
Delete Point—Deletes selected points. according to selections made in the Pixel
Selections panel. You can blur an entire image,
Horizontal Position—Allows you to manually enter non-background scene elements, by luminance
a horizontal position value for a selected point. value, or by using a map mask. Blur can give your
Vertical Position—Allows you to manually enter a animation added realism by rendering the illusion
vertical position value for a selected point. of object or camera movement.
Pan—Allows you to click and drag the Radial Size

graph to move it left and right or up and down.
Click once to enable panning. Pan remains active
until you click another button. The button is
yellow while it is active.
Directional—Applies the Blur effect in any direction

according to the Directional parameters. The U
Pixel Radius and Trail blur the pixels horizontally
while the V Pixel Radius and Trail blur the pixels
vertically. Rotation is used to rotate the axis of the
horizontal and vertical blurring.
U Pixel Radius—Determines the horizontal
intensity of the Blur effect. Increasing the value
increases the number of surrounding pixels that
Object before and after adding midrange Blur effect. each pixel will use to compute its blur. The more
pixels used means a greater horizontal blur for the
Interface image.
Blur Parameters rollout, Blur Type panel U Trail—Adds “direction” to your blur by weighting
more blur to either side of the U axis. This adds a
streaking effect and creates the illusion that your
objects or your camera are rapidly moving in a
particular direction.
V Pixel Radius—Determines the vertical intensity
of the Blur effect. Increasing the value increases
the number of surrounding pixels that each pixel
will use to compute its blur, and creates a greater
vertical blur for the image.
V Trail—Adds “direction” to your blur by weighting
more blur to either side of the V axis. This adds a
streaking effect and creates the illusion that your
objects or your camera are rapidly moving in a
particular direction.
Rotation—Rotates the axis of the U and V pixels
that will be blurred by the U and V Pixel Radius
Uniform—Applies the Blur effect evenly across the spinners. By using Rotation with the U and V
entire rendered image. Pixel Radius spinners you can have the Blur effect
applied to any direction in your rendered image.
Pixel Radius—Determines the intensity of the Blur When rotation is 0, U corresponds to the image’s
effect. Increasing the value increases the number X axis and V corresponds to the image’s Y axis.
of surrounding pixels that each pixel will use to
compute its blur. The more pixels used means a Affect Alpha—Applies the Directional Blur effect to
greater blur for the image. the Alpha channel when turned on.
Affect Alpha—Applies the Uniform Blur effect to Radial—Applies the Blur effect radially. Using
the alpha channel when turned on. the Radial parameters you can define a point
within your rendered image to use as the center
of the Radial Blur. You can use an object as the
center or an arbitrary location set by the X and Blur Parameters rollout, Pixel Selections panel
Y Origin spinners. The Blur effect will apply the
least amount of blur to the center origin of the
effect and gradually increase the blur to the pixels
further away from the center. This can be used to
simulate motion blur caused by camera zoom.
Pixel Radius—Determines the intensity of the
Radius Blur effect. Increasing the value increases
the number of surrounding pixels that each pixel
will use to compute its blur. The more pixels used
means a greater blur for the image.
Trail—Adds “direction” to your blur by weighting
more or less blur toward the center of the Blur
effect. This adds a streaking effect and creates
the illusion that your objects or your camera are
rapidly moving in a particular direction.
X/Y Origin—Specifies the center of the blur, in
pixels, with respect to the dimensions of the
rendered output.
None—Lets you specify an object whose center
serves as the center of the blur effect. Click this,
select an object, and then turn on Use Object
Center. The object name appears on the button.
Clear—Removes the object name from the button
above.
Use Object Center—When on, the object specified
by the None button (tooltip: Pick an object to
center on.) serves as the center of the blur effect. If
no object is specified and Use Object Center is on,
Whole Image—Affects the entire rendered image
no blur is added to the rendered image.
when chosen. This is useful when the Blur effect
Affect Alpha—Applies the Radial Blur effect to the dims your rendered image. By using Brighten and
Alpha channel when turned on. Blend you can maintain the original colors of the
scene.
Brighten—Brightens the entire image.
Blend—Blends the Blur effect and the Whole Image

parameters with the original rendered image. This
can be used to create a soft-focus effect.
Non-Background—Affects everything but the Map Mask—Applies the Blur effect according to the
background image or animation when chosen. channel selected and mask applied through the
This is useful when the Blur effect has dimmed Material/Map Browser. After selecting a mask you
your scene objects but not the background. By must select a channel from the Channel list. Blur
Using Brighten, Blend, and Feather Radius, you then examines the mask and channel according
can maintain the original colors of the scene. to the values set in the Minimum and Maximum
spinners. Any pixels in the mask that are of the
Brighten—Brightens the rendered image except for
selected channel and between the Min and Max
the background image or animation.
values will have the Blur effect applied. This is
Blend—Blends the Blur effect and the useful for blurring selected portions of a scene
Non-Background parameters with the original such as a winter morning as seen through a frost
rendered image. covered window.
Feather Radius—Feathers the Blur effect applied Channel—Selects a channel that the Blur effect will
to the Non-Background elements of your scene. be applied to. After selecting a particular channel,
When using Non-Background as a Pixel Selection use the minimum and maximum spinners to
you will notice that the scene objects have a hard determine the value a mask pixel must have in
edge to their blur since the objects are being order to have the effect applied to it.
blurred but the background is not. Use the spinner
Brighten—Brightens the portions of the image that
to feather the blur and eliminate the hard edge of
the Blur effect is applied to.
the effect.
Blend—Blends the Map Mask Blur effect with the
Luminance—Affects any pixels that have luminance
original rendered image.
values that fall between it’s Min and Max spinners.
Min—The minimum value (RGB, Alpha, or
Brighten—Brightens pixels that fall between the
Luminance) a pixel must have in order to have the
Minimum and Maximum luminance values.
Blur effect applied to it.
Blend—Blends the Blur effect and the Luminance
Max—The maximum value (RGB, Alpha, or
parameters with the original rendered image.
Luminance) a pixel can have for the Blur effect to
Min—Sets the minimum luminance value be applied to it.
necessary for each pixel in order for the Blur effect
Feather Radius—Feathers the Blur effect applied
to be applied to the pixel.
to pixels that fall between the Minimum and
Max—Sets the maximum luminance value a pixel Maximum channel values. When using map mask
can have in order for the Blur effect to be applied as a Pixel Selection, the Blur effect can create a
to the pixel. hard edge on the effect. Use the spinner to feather
the blur and eliminate the hard edge of the effect.
Feather Radius—Feathers the Blur effect applied
to pixels that fall between the Minimum and Object ID—Applies the Blur effect to an object or
Maximum luminance values. When using part of an object with a specific Object ID (in the
Luminance as a Pixel Selection the Blur effect can G-Buffer (page 3–681)), if the object matches the
create a hard edge on the effect. Use the spinner Filter settings. To add or replace an Object ID, use
to feather the blur and eliminate the hard edge of the spinners or enter a value in the ID text box and
the effect. press the appropriate button.
Min Lum—The minimum luminance value a pixel General Settings group

must have in order to have the Blur effect applied
to it.
Max Lum—The maximum luminance value a pixel
can have for the Blur effect to be applied to it.
Brighten—Brightens the portion of the image that
the Blur effect is applied to.
Blend—Blends the Object ID Blur effect with the
original rendered image.
F. Radius—Feathers the Blur effect applied to pixels
that fall between the Minimum and Maximum
luminance values. When using Luminance as a
Feather Falloff control curve
Pixel Selection, the Blur effect can create a hard
edge on the effect. Use the spinner to feather the The Feather falloff curve allows you to determine
blur and eliminate the hard edge of the effect. the feather falloff off the Blur effect based on a
graph. You can add points to the graph to create a
Material ID—Applies the Blur effect to a material or falloff curve, and adjust the interpolation in those
part of a material with a specific Material Effects points.
Channel (page 2–1073), if the material matches
the Filter settings. To add or replace a Material Move—Lets you move the points on the graph.
Effects channel, use the spinners or enter a value in This button is a flyout, providing free movement
the ID text box and press the appropriate button. (the default), horizontal, and vertical movement.
Min Lum—The minimum luminance value a pixel Scale Point—Lets you scale the points on the graph.
must have in order to have the Blur effect applied This also moves the points, but in relationship to
to it. each other. Click the points you want to scale, or
draw a selection rectangle around them to select
Max Lum—The maximum luminance value a pixel them. Then turn on Scale Point, and press any
can have for the Blur effect to be applied to it. point in the selection to scale them all.
Brighten—Brightens the portion of the image that Add Point—Lets you create additional points on
the Blur effect is applied to. the falloff curve. This button is a flyout, providing
Blend—Blends the Material Blur effect with the linear points (the default) and Bezier points with
original rendered image. handle.
F. Radius—Feathers the Blur effect applied to pixels Delete Point—Removes points from the graph.
that fall between the Minimum and Maximum Brightening—These radio buttons let you select
luminance values. When using Luminance as a additive or multiplicative brightening. Additive
Pixel Selection, the Blur effect can create a hard brightening is brighter and more distinct than
edge on the effect. Use the spinner to feather the multiplicative brightening. Additive brightening
blur and eliminate the hard edge of the effect. is useful when you use blur in combination with a
Glow effect (page 3–7). Multiplicative brightening
provides a soft highlight to the Blur effect.
Brighten Curve—Lets you edit the brightening Brightness—Increases or decreases all color
curve in the Feather Falloff curve graph. components (red, green, and blue). Range=0 to
1.0.
Blend Curve—Lets you edit the blend curve in the
Feather Falloff curve graph. Contrast—Compresses or expands the latitude
between maximum black and maximum white.
Range=0 to 1.0.
Brightness and Contrast Ignore Background—Applies the effect to
Rendering Effect everything in your Autodesk VIZ scene except the
Rendering menu > Effects > Environment and Effects background.
dialog > Effects panel > Add > Add Effect dialog >
Brightness and Contrast
Color Balance Rendering Effect

dialog > Effects panel > Add > Add Effect dialog > Color
Balance
The Color Balance Effect allows you to manipulate

additive/subtractive color tinting through
independent control of RGB channels.
Above: Original rendering is too dark.

Below: Increasing both brightness and contrast improves
clarity of the rendering.
Brightness and Contrast allows you to adjust the

contrast and brightness of an image. This can
be used to match rendered scene objects with
background images or animations.
Interface
The Brightness and Contrast Parameters rollout

contains the following parameters.
File Output Rendering Effect 47
Yellow/Blue—Adjusts the blue channel.
Preserve Luminosity—When on, retains the

luminosity of the image while correcting the color.
Ignore Background—When on, allows you to image
correct a model without affecting the background.
File Output Rendering Effect

dialog > Effects panel > Add > Add Effect dialog > File
Output
File Output allows you to take a “snapshot” of a

rendering before some or all of the other Render
Effects are applied, depending on the placement
of File Output in the Render Effects stack. You
can save different channels such as Luminance,
Depth, or Alpha to a separate file while rendering
an animation.
You can also use File Output to convert an RGB
image into a different channel and send that image
channel back into the Render Effects stack. The
rest of the effects can then be applied to that
Above: Color balance effect used to correct the color cast. channel.
Below: Original rendering has a yellow cast.
Interface
The Color Balance Parameters rollout contains the

following parameters:
Cyan/Red—Adjusts the red channel.
Magenta/Green—Adjusts the green channel.

Interface Targa Image File (page 3–276) (TGA, VDA, ICB,

UST)
TIF Image File (page 3–277) (TIF)
Devices—Opens a dialog so you can send the
rendered output to a device such as a video
recorder.
Clear—Clears any file or device selected in the
Destination group box.
Driver group
These buttons are available only when you choose
a device as the image source.
About—Provides information on the source of the
image-handler software used to bring the image
into the software.
Setup—Displays a setup dialog specific to the
Destination group plug-in. Some plug-ins may not use this button.
Files—Opens a dialog so you can save the rendered Parameters group

image or animation to disk.
Channel—Lets you choose which channel you wish
The rendered output can be a still image or an to save or send back in to the Render Effects stack.
animation, in one of the following file formats: Choose Whole Image, Luminance, Depth, or
Autodesk Flic Image File (page 3–255) (FLC, FLI, Alpha to display more options in the Parameters
CEL) group box.
Affect Source Bitmap—When activated, this will
AVI File (page 3–252) (AVI)
take in an image with any effects previously
BMP Image file (page 3–660) (BMP) applied, convert it to the channel selected, and
Encapsulated PostScript (page 3–254) format send it back into the stack for the rest of the effects
(EPS, PS) to be applied. Your rendered image will be saved
in the channel selected. This parameter is not
JPEG File (page 3–263) (JPG) available to the Whole Image channel.
Kodak Cineon (page 3–253) (CIN)
Depth Parameters
MOV QuickTime file (page 3–263) (MOV)
When Depth is selected as a channel, new
PNG Image File (page 3–271) (PNG) parameters are available for determining what
parts of the scene should be rendered into the
RLA Image File (page 3–273) (RLA)
Depth channel image.
RPF Image File (page 3–274) (RPF)
Copy—After choosing a camera with the None
SGI’s Image File Format (page 3–276) (RGB) button, click Copy to use the camera’s clipping
Film Grain Rendering Effect 49
planes to determine which part of the scene should

be rendered into the Depth channel image file.
None—Enables you to select a camera to use for
copying clipping planes. Click the none button
to activate it. The None button will turn green
until a camera has been selected in the viewport.
The camera’s name will then be displayed on the
button instead of None.
Near Z—Specifies the beginning distance from the
camera that should be used in determining where
to start rendering the scene’s geometry in the
depth channel image file.
Far Z—Specifies the ending distance from the
camera that should be used in determining where
to stop rendering the scene’s geometry in the
depth channel image file.
Fit Entire Scene—Makes all other Depth parameters Before and after applying Film Grain to a scene
unavailable and will render the entire viewport’s
scene geometry in the Depth channel image Interface
file, automatically calculating the near and far Z
required.
Film Grain Rendering Effect

dialog > Effects panel > Add > Add Effect dialog > Film The Film Grain Parameters rollout contains the
Grain
following controls.
Film Grain is used to recreate the look of film grain Grain—Sets the amount of grain added to your
in your rendered scene. Film Grain also allows image. Range=0 to 1.0.
you to match film grain from source material used
Ignore Background—Masks the background so that
as a background, such as an AVI, to the rendered
grain is applied only to geometry and effects in
scene created in the software. When applied, Film
the scene. Choose this option when you use film
Grain automatically randomizes to create the look
(which already contains grain) as the background
of moving frames.
image.
Work with transparency—When on, motion blur

Motion Blur Rendering Effect is applied to objects behind transparent objects.
When off, objects behind transparent objects
dialog > Effects panel > Add > Add Effect dialog > Motion receive no motion blur. Turning off this toggle can
Blur improve rendering speed. Default=on.
Duration—Specifies how long the "virtual shutter"
is open. When this is set to 1.0, the virtual shutter
is open for the entire duration between one frame
and the next. The higher the value, the greater the
motion blur effect. Default=1.0.
Depth of Field Rendering Effect

dialog > Effects panel > Add > Add Effect dialog > Depth
of Field
Motion blur enhances the movement of the sword.
Motion Blur applies an image motion blur (page

3–688) to your rendered scene by blurring moving
objects or the entire scene. Motion blur can
enhance the realism of a rendered animation by
simulating the way a real-world camera works.
A camera has a shutter speed, and if significant
movement of objects in the scene, or of the camera
itself, occurs during the time the shutter is open,
the image on film is blurred.
Note: In addition, you must set motion-blur
characteristics for objects to be blurred using the Depth of field emphasizes the scooter.
Object Properties dialog (page 1–113). The Depth-of-Field effect simulates the natural
blurring of foreground and background scene
Interface elements when viewed through a camera lens.
Depth of Field works by separating the scene in Z
order into foreground, background, and in-focus
images. The foreground and background images
are then blurred according to the values set in
the Depth of Field effect parameters and the final
The Motion Blur Parameters rollout contains the image is composited from the processed originals.
following controls. Note: When additional Render Effects are
being applied to an image or animation, the
Depth-of-Field effect should be the last effect to
Depth of Field Rendering Effect 51
be rendered. The order of the rendered effects is Interface

listed in the Effects tab of the Environment and
Effects dialog.
Tip: To minimize sampling artifacts in out-of-focus
areas with the default scanline renderer, try
using the Blend filter in the Antialiasing group of
the Render Scene dialog (page 2–1316) (on the
Renderer panel).
The Depth of Field Parameters rollout contains the

following parameters.
Affect Alpha—Affects the alpha channel of the final
rendering when on.
Cameras group
Pick Cam—Enables you to interactively select from
the viewport which camera you want the Depth
of Field effect applied to.
Remove—Deletes the camera currently selected in
the drop-down list.
Before and after applying Depth of Field effect to scene. Camera Selection List—Lists all of the cameras to be
used in the effect. You can use this list to highlight
a specific camera and remove it from the list using
the Remove button.
Focal Point group

Pick Node—Enables you to select an object to use
as the focal node. When activated you can select
an object directly from the viewports to use as the
focal node. You can also press H to display the

Select Objects dialog (page 1–74) from which you Environment and
can select objects to use as a focal node.
Environment Effects
Remove—Removes the object selected as the Focal
Node.
Use Camera—Specifies that the focal length from Environment
the camera selected in the Camera Selection list be Rendering menu > Environment > Environment and
used to determine the focal point. Effects dialog > Environment panel
Focal Parameters group Environment displays the Environment panel

Custom—Uses the values set in the Focal
(page 3–53), which is used for setting up
Parameters group box to determine the properties atmospheric and background effects.
of the Depth of Field effect. You can use the environment functions to:
Use Camera—Uses the values from the camera • Set and animate the background color.
highlighted in the Camera Selection list to • Use an image in the background of the rendered
determine focal range, limit, and blur. scene (screen environment) or use texture
Horiz Focal Loss—Determines the amount of blur maps as spherical, cylindrical, or shrink-wrap
along the horizontal axis when Custom has been environments.
chosen. • Set and animate the ambient light (page 3–655).
Vert Focal Loss—Controls the amount of blur along • Use atmospheric plug-ins, such as volumetric
the vertical axis when Custom has been chosen. light, in the scene.
Focal Range—Sets the Z distance, in units, to either • Apply exposure controls to renderings.
side of the focal point in which the image will
remain in focus when Custom has been chosen. Atmospheres
Focal Limit—Sets the Z distance, in units, to either Atmospheres are plug-in (page 3–716)
side of the focal point where blur will reach its components that create lighting effects such as fog,
maximum as specified by the Loss spinners when fire, and so on.
Custom has been chosen. Fire Environment Effect (page 3–57)
Fog Environment Effect (page 3–62)
Volume Fog Environment Effect (page 3–64)
Volume Light Environment Effect (page 3–68)
See Environment dialog (page 3–53) for all
environment parameters.
Exposure Controls
One of the limitations of rendering perceptually
accurate images is the limited dynamic range
Environment Panel 53
of computer monitors. Dynamic range is the See also

ratio of the highest to lowest intensity a monitor
Exposure Controls (page 3–73)
can produce. In a dark room this ratio is
approximately 100 to 1. In a bright room, this
Procedures
drops to approximately 30 to 1. Real environments
can have dynamic ranges of 10,000 to 1, or larger. To access environment functions, do one of the
following:
Exposure Controls (page 3–73) map light energy • Choose Rendering > Environment.
values to colors. They affect the brightness and
contrast of both rendered images and viewport • On the Environment and Effects dialog, click
displays. They don’t affect the actual lighting levels the Environment tab.
in the scene, but only how those levels are mapped
To set the background color:
to a valid display range.
1. Choose Rendering > Environment.
• Automatic Exposure Control (page 3–74)
The Environment panel appears.
• Logarithmic Exposure Control (page 3–77)
2. In the Background group, click the color
• Linear Exposure Control (page 3–76)
swatch.
• Pseudo Color Exposure Control (page 3–79)
A Color Selector (page 1–132) appears.
3. Use the Color Selector to change the
Environment Panel background color.
The Renderer now uses this color as a
Rendering menu > Environment > Environment and
Effects dialog > Environment panel background.
Use the Environment panel to: To choose an environment map:
• Set and animate the background color. 1. Display the Material Editor.
• Use an image in the background of the viewport You adjust the map’s parameters with the
and rendered scene (screen environment) or Material Editor.
use texture maps as spherical, cylindrical, or 2. Choose Rendering > Environment.
shrink-wrap environments.
3. Under Background on the Environment panel,
• Set and animate the tint and ambient light do one of the following:
(page 3–655) globally.
• Click the Environment Map button. The
• Use atmospheric plug-ins, such as volumetric Material/Map Browser appears. Choose a
light, in the scene. map type from the list.
Atmospheres are plug-in components (page • Drag a map to the Environment Map button.
3–716) that create light effects such as fire You can do this from a map displayed in one
(page 3–57), fog (page 3–62), volume fog (page of the Material Editor’s sample slots, or from
3–64), and volume light (page 3–68). any map button that has been assigned,
• Apply exposure controls (page 3–73) to either in the Material Editor or from a
renderings. projection light, and so on.
Drag a bitmap from the Material Editor’s To change the color of ambient light:
map preview to the Environment Map Tip: You don’t need to adjust ambient light if you
button. are using radiosity (page 2–1350).
On the Environment panel, the name of the 1. Choose Rendering > Environment.
Environment Map button changes to show the
2. Click the color swatch labeled Ambient.
type of map you chose, and Use Map turns on.
After you have set up the map, you can later turn
3. Use the color selector to set the ambient color.
off Use Map to test rendering the scene without
the mapped background. Shaded viewports update to show ambient
color changes.
You have set up the environment map, but to
assign a bitmap or adjust map parameters, you Autodesk VIZ also uses the new ambient color
need to use the Material Editor. when you render the scene.
You can also create a standalone map in the The color of ambient light tints the scene. For
Material Editor first, and then choose it with the most renderings, the color of ambient light
Material/Map Browser. should be black.
4. Close the Environment dialog.
To put the map in the Material Editor:
To change the intensity of ambient light:
• Drag the Environment Map button to a sample
slot. Tip: You don’t need to adjust ambient light if you
The map is now in the Material Editor where are using radiosity (page 2–1350).
you can adjust it by changing its parameters. 1. Choose Rendering > Environment.
2. Click the color swatch labeled Ambient Light.
To change the color and tint of global lighting:
3. Change the Value setting (the V component
2. Click the color swatch labeled Tint.
of the ambient light’s HSV description) to
A Color Selector (page 1–132) appears. increase or decrease intensity.
3. Use the color selector to set the tint applied to Shaded viewports update to show changes in
all lighting except ambient light. the ambient light intensity.
4. Use the Level spinner to multiply the overall 4. Close the Color Selector.
lighting of the scene.
The intensity of ambient light affects contrast
Shaded viewports update to show global as well as overall illumination (the higher
lighting changes. the intensity of ambient light, the lower the
5. Close the Environment dialog. contrast). This is because ambient light is
completely diffuse, so the angle of incidence is
Autodesk VIZ uses the global lighting
equal for all faces. Ambient light alone cannot
parameters when you render the scene.
show depth.
Note: Autodesk VIZ has a default ambient light
setting. You can change the default by using
Environment Panel 55
the Rendering panel of the Preference Settings To assign an environment map, click the button
dialog. and use the Material/Map Browser to choose a
map, or drag a map from a sample slot or map
To add an atmospheric effect: button in the Material Editor (or anywhere else in
1. Choose Rendering > Environment. the software; for example, a Projector Map button)
and drop the map on the Environment Map
The Environment and Effects dialog is
button. A dialog asks if you want the environment
displayed, with the Environment panel visible.
map to be a copy (independent) or an instance of
2. Under Atmosphere on the Environment panel, the source map.
click Add.
To adjust the environment map’s parameters,
The Add Atmospheric Effect dialog appears. for example to assign a bitmap or change the
3. Choose the kind of effect you want to use, and coordinate settings, open the Material Editor, drag
then click OK. the Environment Map button, and drop it over an
The effect has now been added. Use the unused sample window.
Atmosphere rollout to adjust parameters. Use Map—Uses a map for the background rather
than the background color.
Interface
Common Parameters rollout Global Lighting group
Tint—Tints all lights in the scene (except for
ambient light) if this color is anything other than
white. Click the color swatch to display the Color
Selector, on which you can choose the tint color.
You can animate the tint color by changing it at a
nonzero frame with the Auto Key button on.
Level—Multiplies all lights in the scene. A Level of
1.0 preserves the original, individual light settings.
Increasing the Level raises the lighting for the
Background group overall scene, and decreasing the Level lowers the
Color—Sets the color for the scene background. overall lighting. This parameter is animatable.
Click the color swatch, then select the color you Default=1.0.
want in the Color Selector. You can animate the Ambient—Sets the color for the ambient light.
color effect by changing the background color at a Click the color swatch, and choose the color you
nonzero frame with the Auto Key button on. want in the Color Selector. You can animate the
Environment Map—The button for Environment light effect by changing the ambient light color at a
Map (page 3–672) displays the name of the map, nonzero frame with the Auto Key button on.
or “None” if none has been assigned. The map
must use Environmental mapping coordinates
(page 3–696) (spherical, cylindrical, shrink wrap,
and screen).
Atmosphere rollout effects within a list of complicated atmospheric

functions.
Move Up / Move Down—Moves the selected item in
the list up or down to change the order in which
the atmospheric effects are applied.
Merge—Merges effects from other Autodesk VIZ
scene files.
When you click Merge, the Merge Atmospheric
Effects dialog appears. Choose a Autodesk VIZ
scene, and then click Open. The Merge
Effects—Shows the queue of effects that were Atmospheric Effects dialog then lists the effects in
added. The effects are evaluated in linear order the scene that can be merged. Select one or more
within the scene during rendering. Depending on of the effects, and then click OK to merge them
the selected effect, the Environment dialog adds into the scene.
the appropriate rollout for the effect’s parameters.
The list shows the names of the atmospheric effects
Name—Gives a custom name to effects in the list. only, but when you merge an effect, the lights or
gizmos bound to that effect are merged as well. If
For example, you might have different custom
one of these objects you’re merging has the same
settings for different kinds of fire, that you could
name as one already in the scene, an alert appears
name Spark and Fireball.
giving you the following choices:
Add—Displays the Add Atmospheric Effect dialog • You can rename the incoming object by
(all currently installed atmospheric effects). Select changing its name in the editable field.
an effect and click OK to assign an effect to the list.
• You can Merge the incoming object without
renaming, resulting in two objects in the scene
with the same name.
• You can delete the existing object in the scene
by selecting the Delete Old button.
• You can select Apply To All Duplicates, which
performs the same action to all subsequent
matching objects.
Note: To control whether or not the renderer
uses the environment map’s alpha channel
in creating the alpha for the rendered image,
choose Customize > Preferences > Rendering,
and then turn on Use Environment Alpha in
Delete—Deletes a selected atmospheric effect from the Background Antialiasing group.
the list. If Use Environment Alpha is turned off (the
Active—Sets the on/off state for the individual default) the background receives an alpha of 0
effects in the list. This is a convenient way to isolate (completely transparent). If Use Environment
Fire Environment Effect 57
Alpha is turned on, the alpha of the resulting image near the bottom of the list are layered in front of
is a combination of the scene and background effects near the top of the list.
image’s alpha. Also, when writing TGA files with
Each effect has its own parameters. When you
Pre-Multiplied Alpha set to off, turning on Use
select a fire effect in the Effects list, its parameters
Environment Alpha prevents incorrect results.
appear in the Environment dialog.
Note that only background images with alpha
channels or black backgrounds are supported Fire renders only in Camera or Perspective views.
when compositing in other programs such as Orthographic or User views don’t render Fire
Photoshop®. effects.
Note: To control whether or not a background Tip: Fire doesn’t support completely transparent
image is affected by the renderer’s antialiasing objects. Set the transparency of Fire objects
filter, choose Customize > Preferences > accordingly. Use visibility rather than transparency
Rendering and then turn on Filter Background in to make Fire objects disappear.
the Background Antialiasing group. Default=off. Note: The Fire effect does not cast any light or
shadows in the scene. To simulate illumination,
you must also create lights. To cast shadows, you
Fire Environment Effect need to go to the Shadows Parameters rollout (page
Rendering menu > Environment > Environment and 2–967) of your lights, and turn on Atmosphere
Effects dialog > Environment panel > Atmosphere rollout Shadows.
> Add > Fire Effect
Procedures
To create fire effects:
1. Create one or more atmospheric apparatus
objects to locate the fire effect in your scene.
2. Define one or more fire atmospheric effects on
the Environment panel.
3. Assign atmospheric apparatus objects to the
fire effects.
Scene using fire
Use Fire to produce fire and smoke effects. Possible

uses for Fire effects include campfires, torches,
fireballs, clouds, and nebula.
Note: In earlier versions of Autodesk VIZ, Fire was
Sample fire effects
known as the "Combustion effect."
You can add any number of fire effects to a scene.
The order of effects is important because effects
Example: To create a campfire:

1. Click Helpers on the Create panel and choose
Atmospheric Apparatus (page 3–83) from the
subcategory list.
2. Click Sphere Gizmo. Drag the cursor in the Top
viewport to define an apparatus radius of about
20 units. Turn on the Hemisphere check box in
Sphere Gizmo Parameters.
3. Click Non-Uniform Scale. Click Yes in the
Warning dialog (this warning doesn’t apply to
atmospheric gizmos), and scale the apparatus
250 percent along its local Z axis only. You can Example model with fire
then model logs, embers, and rocks around the
base of the apparatus. Interface
4. Open the Modify panel of the Sphere Gizmo.
On the Atmosphere rollout, click Add and
choose Fire from the Add Atmosphere dialog.
5. Highlight Fire in the Atmospheres list under
the Atmospheres & Effects rollout. Click Setup.
6. Set the following parameters under Shape and
Characteristics:
• Flame Type=Tendril
• Stretch=0.8
• Flame Size=18.0
• Flame Density=30.0
The Fire effect doesn’t cast any light in the scene.
If you want to simulate illumination from the fire
effect, you must create lights as well.
You create a fire apparatus, or "gizmo," to position

the effect in your scene and to define the maximum
boundaries of the effect. The apparatus is a Helper
object found in the Atmospheric Apparatus
subcategory.
There are three kinds of apparatus: BoxGizmo You can assign single apparatus to multiple fire
(page 3–84), SphereGizmo (page 3–87), and effects. For example, one apparatus can display
CylGizmo. (page 3–85). both a fireball and a tendril flame effect.
You can move, rotate, and scale the apparatus, but You can choose multiple gizmos. Click Pick Gizmo
you cannot apply modifiers. and press H. This displays a Pick Object dialog on
which you choose multiple objects from the list.
Using non-uniform scale is a good way to change
the shape of the apparatus for effects. (You will see Remove Gizmo—Removes the gizmo selected in
a warning when you use this transform. Because the gizmo list. The gizmo remains in your scene
you don’t modify atmospheric apparatus, you can but it no longer displays the fire effect.
safely ignore the warning.)
Gizmo List—Lists apparatus objects assigned to the
fire effect.
Fire Parameters rollout
You must assign an atmospheric apparatus to a fire Colors group
effect before you can render the effect. Use buttons
You can set three color properties for a fire effect
in the Gizmos area to manage the list of apparatus
using the color swatches under Colors. Click
objects.
a color swatch to display the software’s Color
Selector (page 1–132).
Gizmos group
Inner Color—Sets the color of the densest part of
the effect. For a typical fire, this color represents
the hottest part of the flame.
Outer Color—Sets the color of the sparsest part of
the effect. For a typical fire, this color represents
the cooler, dissipating edge of the flame.
The fire effect is colored using a gradient between
the inner and outer colors. The dense areas of the
effect use the inner color and gradually blend to
the outer color near the edges of the effect.
Shape group
Gizmo for the fire in the scene shown at the beginning of
this topic You control the shape, scale, and pattern of flames
Pick Gizmo—Click to enter Pick mode and click an
within the fire effect using controls under Shape.
atmospheric apparatus in the scene. The apparatus Two options set the direction and general shape
displays the fire effect when you render. The name of flames.
of the apparatus is added to the apparatus list.
Tendril—Creates directional pointed flames with
Multiple apparatus objects can display the same veins along their center. The flames orient along
fire effect. For example, torches on a wall can all the local Z axis of the fire apparatus. Tendril
use the same effect. Assign a different seed to each creates campfire-like flames.
apparatus to vary the effect.
Fireball—Creates round puffy flames.
Non-uniform scaling of an apparatus

Stretch=0.5, 1.0, 3.0
Regularity—Modifies how the flames fill the

apparatus. Range=1.0 to 0.0.
A value of 1.0 completely fills the apparatus. The
effect fades near the edges of the apparatus, but the
overall shape is still very noticeable.
Comparing Tendril to Fireball A value of 0.0 produces a very irregular effect that
Above=Tendril, Below=Fireball might occasionally reach the boundary of the
apparatus, but usually gets trimmed back and is
Stretch—Scales flames along the Z axis of the
smaller.
apparatus. Stretch works best with Tendril flames,
but you can use it to give Fireballs an oval shape.
Values less than 1.0 compress flames, making them
shorter and thicker.
Values greater than 1.0 stretch flames, making
them long and skinny.
You can combine Stretch with non-uniform
Effect of changing Regularity
scaling of the apparatus. Use non-uniform scale
Value=0.2, 0.5, 1.0
to change the boundary of the effect and scale the
shape of the flames.
Characteristics group
Use the Stretch parameter to scale only the
You set the size and appearance of flames using
flames inside the apparatus. You can also use
parameters under Characteristics. All of these
Stretch values to reverse the effect that scaling the
parameters depend on the apparatus size and
apparatus had on the flames.
are interdependent on each other. Changing one
parameter affects the behavior of the other three.
Flame Size—Sets the size of individual flames
inside the apparatus. The size of the apparatus
affects the flame size. A larger apparatus requires
Effect of changing Stretch
a larger flame size. Use a range from 15.0 to 30.0
Value=0.5, 1.0, 3.0
for the best results.
Large values work best for Fireballs. gradually replacing the inner color with white.
The higher the value, the more white the center
Small values work best for Tendrils.
of the effect is.
If the flame size is very small, you might need to
increase Samples to see individual flames.
Effect of changing Flame Density

Value=10, 60, 120
Effect of changing Flame Size
Samples—Sets the rate at which the effect is
Value=15.0, 30.0, 50.0 sampled. Higher values produce more accurate
Radius of apparatus=30.0 results but take longer to render.
Flame Detail—Controls the amount of color change You might consider raising the samples value
and edge sharpness seen within each flame. under the following conditions:
Range=0.0 to 10.0.
• Flame Size is small.
Low values produce smooth, fuzzy flames and
• Flame Detail is greater than 4.
render faster.
• Any time you see color banding in the effect.
High values produce patterned, sharp flames and The chance of color banding increases if a flat
render slower. surface intersects the fire effect.
Use higher detail values for large flame sizes. If the Note: 100 percent transparent objects that
detail value is greater than 4, you might need to intersect the effect become partially visible.
increase Samples to capture the detail.
Motion group
Use the parameters in the Motion group to adjust
the churn of the flame.
Phase—Controls the rate of change for the fire
effect.
Effect of changing Flame Detail
Phase Function Curve Sample
Value=1.0, 2.0, 5.0
Density—Sets the opacity and brightness of the

fire effect. The size of the apparatus affects the
density. A large apparatus with the same density
as a small apparatus appears more opaque and Explosion effect at Phase=50, 100, 150, 200, and 250
brighter because of its larger size.
Drift—Sets how flames are rendered along the Z
Low values make the effect less opaque and use axis of the fire apparatus. The value is the amount
more of the outer color. High values make the of rise in units.
effect more opaque and brighten the effect by
For the best fire effects, drift should be a multiple As a general guideline, set Far Range just
of the height of the fire apparatus. beyond the objects, and Near Range to intersect
the object geometry closest to the camera.
Fog Environment Effect
5. Under Atmosphere on the Environment panel,
Rendering menu > Environment > Environment and click Add.
Effects dialog > Environment panel > Atmosphere rollout
> Add > Fog The Add Atmospheric Effect dialog is displayed.
6. Choose Fog, and then click OK.
7. Make sure you choose Standard as the type of
fog.
To use layered fog:
Fog added to a scene
This command provides fog and smoke 1. Create a Camera or Perspective view of your
atmospheric effects. This plug-in (page 3–716) scene.
provides effects such as fog which causes objects to 2. Choose Rendering > Environment.
appear to fade as they increase in distance from the
camera (standard fog), or layered fog that envelops 3. Under Atmosphere on the Environment panel,
all or parts of objects in a blanket of mist. click Add.
The Add Atmospheric Effect dialog is displayed.
Fog renders only in Camera or Perspective views.
Orthographic or User views don’t render Fog 4. Choose Fog, and then click OK.
effects. 5. Choose Layered as the fog type.
6. Set the parameters for layered fog.
Procedures
You can have multiple fog layers in the scene
To use standard fog:
by adding multiple Fog entries to the list and
1. Create a Camera view of your scene. choosing Layered.
2. In the camera’s creation parameters, turn on
Show in the Environment Ranges group.
Standard fog is based on the camera’s
environment range values.
3. Set Adjust Near Range and Far Range to include
the objects you want to fog in your rendering.
Fog Environment Effect 63
Interface a projector map button) and drop it on the

Environment Color Map button. A dialog asks
if you want the environment map to be a copy
(independent) or an instance of the source map.
Clicking the Environment Color Map button
displays the Material/Map Browser, where you can
choose a map type from the list. To adjust the
environment map’s parameters, open the Material
Editor and drag the Environment Color Map
button over an unused sample slot.
Use Map—Toggles the effect of this map on or off.
Environment Opacity Map—Alters the density of

the fog.
You assign the opacity map, edit it, and toggle its
effect in the same way as the Environment Color
Map.
Fog Background—Applies the fog function to the
background of the scene.
The Fog Parameters rollout appears when you Type—When you choose Standard it uses the
select Fog under Effects in the Environment dialog. parameters in the Standard section and when you
The Fog Parameters rollout has the following choose Layered is selected it uses the parameters
controls. in the Layered section.
Fog group Standard—Enables the Standard group.
Color—Sets the color for the fog. Click the color Layered—Enables the Layered group.
swatch, and then select the color you want in the
Color Selector (page 1–132). Standard group
Environment Color Map—Derives the fog color Thins and thickens the fog based on the distance
from a map. You can map the background and the from the camera.
fog color and you can opacity-map the fog. Exponential—Increases density exponentially with
The large button displays the name of the color distance. When turned off, density increases
map, or None if no map is assigned. The map linearly with distance. Activate this check box only
must use Environmental mapping coordinates when you want to render transparent objects in
(page 3–696) (spherical, cylindrical, shrinkwrap, volume fog.
and screen). Tip: If you turn on Exponential, this increases the
Step Size value to avoid banding.
To assign the map you can drag a map from a
Sample slot or Map button in the Material Editor Near %—Sets the density of the fog at the Near
(or anywhere else in the software; for example, Range (Camera Environment Range parameter).
Far %—Sets the density of the fog at the Far Range

(Camera Environment Range parameter). Volume Fog Environment Effect
Layered group Effects dialog > Environment panel > Atmosphere rollout
> Add > Volume Fog
Thins and thickens the fog between an upper and
lower limit. You can have multiple layers of fog by
adding multiple fog entries to the list.
Top—Sets the upper extent (in world units) of the
fog layer.
Bottom—Sets the lower extent (in world units) of
the fog layer.
Density—Sets the overall density of the fog.
Falloff (Top/Bottom/None)—Adds an exponential

falloff effect so that the density is reduced to 0 at
either the Top or Bottom of the fog extent.
Horizon Noise—Turns on the horizon noise system. Volume fog added to a scene
Horizon Noise perturbs just the horizon of the fog Volume Fog provides a fog effect in which the fog
layer to add realism. density is not constant through 3D space. This
Size—Scale factor applied to the noise. Larger scale plug-in (page 3–716) provides effects such as
values make the fog tendrils larger. Default=20. puffy, cloudy fog that appears to drift and break
up in the wind.
Tip: If you want tendrils to really pop out, try
making the density greater than 100. Volume Fog renders only in Camera or Perspective
views. Orthographic or User views don’t render
Angle—Determines the affected angle off the
Volume Fog effects.
horizon line. For example, if the angle is set to 5 (a
reasonable value), then starting at 5 degrees below
Procedures
the horizon, the fog will begin to break up.
To use volume fog:
This effect is mirrored above and below the
1. Create a Camera or Perspective view of your
horizon, which can produce strange results when
the height of the fog layer traverses the horizon. scene.
Typically you’d want the fog to be either above or 2. Choose Rendering > Environment.
below the actual camera horizon. (You can use the 3. Under Atmosphere on the Environment panel,
horizon line in the camera parameters as an aid to click Add.
help you position this.)
Phase—If Phase is moving in the positive direction,
4. Choose Volume Fog, and then click OK.
then the fog tendrils will aim upward. If your fog
is above the horizon you may want to use Phase 5. Set the parameters for volume fog.
in the negative direction to make the tendrils aim Note: If there are no objects in your scene,
downward. rendering shows only a solid fog color. Also,
Volume Fog Environment Effect 65
with no objects and Fog Background turned 4. Select Volume Fog from the Add Atmospheres
on, volume fog obscures the background. dialog and click OK.
5. Highlight Volume Fog from the Atmospheres
To create a volume fog gizmo:
list and click setup to adjust the Volume Fog
parameters.
To assign a gizmo to volume fog from the

Environment panel:
1. On the Volume Fog Parameters rollout, click
the Pick Gizmo button.
2. Click a gizmo in the viewport.
The name of the gizmo appears in the list field
at right.
When you render, the volume fog will be
confined to the shape of the gizmo.
Volume fog gizmo surrounds the scene.
To remove an assigned gizmo:
1. In the Helpers category of the Create panel,
1. In the Environment dialog, go to the Volume
choose Atmospheric Apparatus from the Fog Parameters rollout
pop-up menu.
2. Select the gizmo name from the pop-up list.
2. Click one of the buttons to choose a gizmo
shape: SphereGizmo, CylGizmo, or BoxGizmo. 3. Click Remove Gizmo.
3. Drag the mouse in the viewport to create the This action doesn’t delete the gizmo from the
gizmo. scene, but simply unbinds it from the fog effect.
You create Gizmos in much the same way as

their matching geometry types. Drag the mouse
to create the initial dimensions. The Sphere
gizmo has an additional Hemisphere check box
that turns the sphere into a hemisphere.
In addition, each gizmo has a Seed spinner
and a New Seed button. Different seed values
generate different patterns. Clicking the New
Seed button randomly generates a new seed
value for you.
To assign volume fog to a gizmo from an apparatus

modify panel:
1. Open the Modify panel of an apparatus.
2. Open the Atmospheres & Effects rollout.
3. Click Add.
Interface You can pick multiple gizmos. Click Pick Gizmo

and then press H. This displays a Pick Object
dialog on which you choose multiple objects from
the list.
Changing the dimensions of a gizmo changes the
region that fog affects, but doesn’t change the scale
of the fog and its noise. For example, reducing
the radius of a spherical gizmo crops the fog, and
moving the gizmo changes the fog’s appearance.
Warning: When you press SHIFT while copying a gizmo,
the new gizmo isn’t bound to the volume fog. If you
want to use the new gizmo, you must use Pick Gizmo to
add it explicitly.
Remove Gizmo—Removes a gizmo from the

volume fog effect. Select the gizmo in the list, and
then click Remove Gizmo.
Soften Gizmo Edges—Feathers the edges of the
volume fog effect. The higher the value, the softer
the edges. Range=0 to 1.0.
Tip: Don’t set this value to 0. At 0, Soften Gizmo
The Volume Fog Parameters rollout appears
Edges can cause aliased edges.
when you select Volume Fog under Effects in the
Environment dialog. The Volume Fog Parameters Volume group
rollout has the following controls.
Color—Sets the color for the fog. Click the color
Gizmos group swatch, and then select the color you want in the
Color Selector (page 1–132).
By default, volume fog fills the entire scene.
However, you can choose a gizmo (an atmospheric Exponential—Increases density exponentially with
apparatus) to contain the fog. The gizmo can be distance. When turned off, density increases
a sphere, a box, a cylinder, or some combination linearly with distance. Activate this check box only
of these. when you want to render transparent objects in
volume fog.
Pick Gizmo—Click to enter Pick mode and click an
atmospheric apparatus in the scene. The apparatus Tip: If you turn on Exponential, increase the Step
contains the volume fog when you render. The Size value to avoid banding.
name of the apparatus is added to the apparatus Density—Controls the fog density. Range=0 to 20
list. (anything over that tends to obliterate the scene).
Multiple apparatus objects can display the same
fog effect.
Volume Fog Environment Effect 67
Turbulence—An iterative turbulence pattern.
Invert—Reverses the noise effect. Dense fog

becomes translucent and vice versa.
Noise Threshold—Limits the noise effect. Range=0
to 1.0. When the noise value is above the Low
threshold and below the High threshold, the
dynamic range stretches to fill 0-1. This makes
Left: Original scene
for a smaller discontinuity (First order instead
of 0 order) at the threshold transition, and thus
Right: Increased fog density
produces less potential aliasing (page 3–653).
Step Size—Determines the granularity of the fog
High—Sets the high threshold.
sampling; the "fineness" of the fog. A large step size
creates coarse (and to some extent, aliased) fog. Low—Sets the low threshold.
Max Steps—Limits the amount of sampling so that

computing the fog doesn’t take forever (literally).
This is especially useful when the fog is of low
density.
When both Step Size and Max Steps have low
values, aliasing results.
Fog Background—Applies the fog function to the
background of the scene. Left: Fog with noise
Right: Changing uniformity creates "blobby" fog
Noise group
Uniformity—Ranges from -1 to 1 and acts like
a high-pass filter. The smaller the value, the
more transparent the volume is with discrete
blobs of smoke. Around -0.3 or so your image
begins to look like specks of dust. Because the fog
becomes thinner as this parameter gets smaller,
you’ll probably need to increase the density or the
volume will start to disappear.
Levels—Sets the number of times the noise is
iteratively applied. Range=1 to 6, including
Right: Noise added to the fog
fractional values. Enabled only for Fractal noise
Noise options for volume fog are comparable to or Turbulence.
the noise options for materials.
Size—Determines the size of the tendrils of smoke
Type—Choose one of three types of noise to apply. or fog. Smaller values give smaller tendrils.
Regular—The standard noise pattern.
Fractal—An iterative fractal noise pattern.

can cast shadows within the spotlight’s cone, if

using shadow maps as a shadow generator.
Left: Fog with noise

Right: Decreasing the size
Phase—Controls the churn of the wind. A simplified example where the light cone is clearly visible
on the right.
Wind Strength—Controls how the smoke is
Volume Light renders only in Camera or
rendered away from the wind direction, relative
Perspective views. Orthographic or User views
to phase.
don’t render Volume Light effects.
Wind from the—Defines the direction the wind is
coming from. Procedures
To use volume light:
1. Create a scene with lights.
Volume Light Environment Effect
2. Create a Camera or Perspective view of your
Rendering menu > Environment > Environment and scene.
Effects dialog > Environment panel > Atmosphere rollout
> Add > Volume Light
Avoid making the view axis parallel to the
cone of a spotlight. This tends to create only
a washed-out scene, possibly with rendering
artifacts.
4. Under Atmosphere on the Environment panel,
click Add.
5. Choose Volume Light, and then click OK.
Volumetric light used in a complex environment with 6. Click Pick Light, and then click a light in a
shadows and noise.
viewport to add the light to the list of volume
Volume Light provides light effects based on the lights.
interaction of lights with atmosphere (fog, smoke, You can also use a Select By Name dialog to
and so on). select multiple lights. Click Pick Light, and then
This plug-in (page 3–716) provides effects such as press H to display the dialog.
radial glows for omni lights (page 3–708), conical 7. Set the parameters for volume light.
glows for spotlights, and parallel beams of fog for
directional lights. Objects within the light volume
Volume Light Environment Effect 69
To add a light to the list: Interface

1. Click Pick Light.
2. Click the light in a viewport.
To remove a light from the list:

1. Open the list of volume lights.
2. Choose the light you want to remove the
volume light effect from.
3. Click Remove Light.
To assign volume light to a light through the Modify

panel:
1. Open the Modify panel of a light.
2. Open the Atmospheres & Effects rollout.
3. Click Add.
4. Select Volume Light from the Add Atmosphere
or Effect dialog and click OK.
5. Highlight Volume Light from the Atmospheres
& Effects list and click setup to adjust the
Volume Light parameters.
Note: Volume Lights don’t support negative
multiplier values.
The Volume Light Parameters rollout appears

when you select Volume Light under Effects in the
Environment dialog. It has the following controls.
Lights group
Pick Light—Click the light that you want to enable
for volume light in any viewport.
You can pick multiple lights. Click Pick Light and
then press H. This displays a Pick Object dialog
that lets you choose multiple lights from the list.
Remove Light—Deletes a light from the list.
Volume group
Fog Color—Sets the color for the fog that makes up
the volume of the light. Click the color swatch,
and then choose the color you want in the Color
Selector (page 1–132).
Unlike the other fog effects, this fog color combines
with the color of the light. Possibly the best effect
is to use white fog and then color it with a colored
light.
Right: Increasing the density
Attenuation Color—Attenuates volume light over
Max Light%—Represents the maximum glow effect
distance. The volume light ramps from the Fog
that you can achieve (defaults to 90 percent). By
Color to the Attenuation color over the light’s Near
turning this down, you can limit the brightness of
and Far attenuation distances. Clicking the color
the glow so that it doesn’t get denser and denser as
swatch displays a color selector so you can change
it gets farther away from the light and "whites out."
the attenuation color.
Note: When your scene includes transparent
Attenuation Color interacts with Fog Color. objects inside a volume light, set Max Light to 100
For example, if your fog color is red and your percent.
attenuation color is green, in the rendering your
fog will shade to purple. Typically the attenuation Min Light%—Similar to an ambient light (page
color should be very dark and neutral—black is 3–655) setting. If Min Light% is greater than 0,
a good choice. areas outside the light volume will glow also. Note
that this means areas of open space (where the
Use Attenuation Color—Makes attenuation color light ray can travel forever) will end up the same as
active. the fog color (just as with normal fog).
Exponential—Increases density exponentially with Without objects behind the fog, the scene will
distance. When turned off, density increases always be as bright as the fog color if the Min
linearly with distance. Activate this check box only Light% is greater than 0 (no matter what the actual
when you want to render transparent objects in value is). This is because the fog goes to infinity
volume fog. and is accumulated infinitely. If you’re going to use
Density—Sets the density of the fog. The denser min light% values greater than 0, you should make
the fog, the more the light reflects off it inside the sure that you enclose your scene by geometry.
volume. Densities of 2 to 6 percent probably make Atten. Mult. (Attenuation Multiplier)—Adjusts the
the most realistic fog volumes. effect of the attenuation color.
Filter Shadows—Allows you to get better quality
volume-light rendering by increasing the sampling
rate (at the cost of some increased rendering time).
These are the options:
Volume Light Environment Effect 71
Low—The image buffer is not filtered but directly

sampled instead. This option is fine for 8-bit
images, AVI (page 3–252) files, and so on.
Medium—Adjacent pixels are sampled and
averaged. This produces a very significant
improvement in cases where you’re getting
banding types of artifacts. It is slower than Low.
High—Adjacent pixels and the diagonal pixels are
sampled, and each are given different weights.
Right: Increasing sample volume to improve quality
This is the slowest method and provides somewhat
better quality than Medium. Attenuation group
Use Light Smp Range—Blurs the shadows cast in The controls in this section are contingent upon
the volume based on the Sample Range value in the settings of the Start Range and End Range
the light’s shadow parameters. Because increasing attenuation (page 3–658) parameters for the
the Smp Range value blurs the shadow cast by the individual light.
light, this makes shadows in the fog better match
Note: Rendering Volume Light at some angles can
cast shadows, and helps prevent aliasing in the fog
introduce aliasing problems. To eliminate aliasing
shadows.
problems, activate the Near and Far Attenuation
Tip: With the Use Light Smp Range option, the settings in the light object that the Volume Light
higher the light’s Smp Range value, the slower applied to.
the rendering. However, with this option you
can usually get good results with a lower Sample Start %—Sets the start attenuation of the light
Volume % setting (such as 4), which reduces effect, relative to the actual light parameter’s
rendering time. attenuation. It defaults to 100 percent, which
means that it starts attenuating at the Start Range
Sample Volume %—Controls the rate at which point. When you reduce this parameter, it starts
the volume is sampled. Ranges 1 through 10,000 attenuating the light at a reduced percentage of the
(where 1 is the lowest quality and 10,000 is the actual Start Range value that is, closer to the light
highest quality). itself.
Auto—Controls the Sample Volume % parameter Because you usually want a smooth falloff (page
automatically and disables the spinner (this is the 3–686), you can keep this value at 0, and no matter
default). The preset sampling rates are as follows: what the light’s actual Start Range, you’ll always
low=8; medium=25; high=50 get a smooth glow without hotspots (page 3–686).
Because the parameter ranges up to 100 there’s End %—Sets the end attenuation of the lighting
still room to set it higher. Increasing the Sample effect, relative to the actual light parameter’s
Volume % parameter definitely slows things down, attenuation. By setting this lower than 100 percent,
but in some cases you may want to increase it (for you can have a glowing attenuating light that
extremely high sample quality). casts light much farther than it actually glows.
Default=100.
• Turbulence—An iterative turbulence pattern.

Invert—Reverses the noise effect. Dense fog
becomes translucent and vice versa.
Noise Threshold—Limits the noise effect. When the
noise value is above the Low threshold and below
the High threshold, the dynamic range stretches
to fill 0-1. This makes for a smaller discontinuity
(first order instead of 0 order) at the threshold
transition and thus produces less potential aliasing
Right: Attenuation limits the range of the light.
(page 3–653).
Noise group • High—Sets the high threshold. Range=0 to 1.0.
Noise On—Turns the noise on and off. When noise • Low—Sets the low threshold. Range=0 to 1.0.
is on there is a slight increase in render time. Uniformity—Acts like a high-pass filter: the smaller
Amount—The percentage of noise applied to the the value, the more the volume is transparent
fog. If the amount is 0, there is no noise. If the with discrete blobs of smoke. By around -0.3 or
amount is 1, the fog becomes pure noise. so your image begins to look like specks of dust.
Because the fog becomes thinner as this parameter
gets smaller, you’ll probably need to increase the
density or the volume will start to disappear.
Range=-1 to 1
Levels—Sets the number of times the noise is
iteratively applied. Enabled only for Fractal noise
or Turbulence. Range=1 to 6, including fractional
values.
Left: Original scene Size—Determines the size of the tendrils of smoke
Right: Noise added or fog. Smaller values give smaller tendrils.
Link To Light—Links the noise effect to its light
object, rather than to world coordinates.
Usually you want noise to look like fog or dust
motes in the atmosphere, in which case, as the light
moves, the noise should remain with the world
coordinates. For certain special effects, however,
you might want the noise linked to the light’s
coordinates. In these cases, turn on Link to Light.
Left: Volume light with noise
Type—Choose one of three types of noise to apply.
Right: Reducing the size value
• Regular—The standard noise pattern.
Phase—Controls the churn of the wind.
• Fractal—An iterative fractal noise pattern.
Exposure Controls 73
Wind Strength—Controls how the smoke is values. Linear Exposure Control is best for
rendered away from the wind direction, relative scenes with a fairly low dynamic range.
to phase. • Logarithmic Exposure Control (page 3–77)
Wind from the—Defines the direction the wind is uses brightness, contrast, and whether the
coming from. scene is outdoors in daylight to map physical
values to RGB values. Logarithmic Exposure
Control is better for scenes with a very high
dynamic range.
• Pseudo Color Exposure Control (page 3–79)
Exposure Controls is actually a lighting analysis tool. It maps
luminances to pseudo colors that show the
Effects dialog > Environment panel > Exposure Control brightness of the values being converted.
rollout
Important: The mental ray renderer (page 2–1377)
supports only the Logarithmic and Pseudo Color
Exposure Controls are plug-in components that
exposure controls.
adjust the output levels and color range of a
rendering, as if you were adjusting film exposure.
Exposure Controls are especially useful for
renderings that use radiosity (page 2–1350).
Exposure control compensates for the limited
dynamic range of monitors. Monitors have a
dynamic range of about two orders of magnitude.
The brightest color that appears on a display is
about 100 times brighter than the dimmest. The
eye, by comparison, can perceive a dynamic range
of about 16 orders of magnitude. The brightest Left: Linear exposure control maps intensity evenly.
color we can perceive is about 10 million-billion Right: Logarithmic exposure control maps most intensities
to low and mid tones.
times brighter than the dimmest. Exposure control
adjusts colors so they better simulate the eye’s
great dynamic range, while still fitting within the
Tips:
color range that can be rendered. • If the primary lighting from your scene comes
• Automatic Exposure Control (page 3–74) from standard lights (rather than photometric
samples the rendered image and builds a lights), use the Logarithmic Exposure Control
histogram to give good color separation across and turn on Affect Indirect Only.
the entire dynamic range of the rendering. It • Use Automatic Exposure Control for rendering
can enhance some lighting effects that would still images. Automatic Exposure Control is
otherwise be too dim to see. also good for first-draft renderings.
• Linear Exposure Control (page 3–76) samples • Use Logarithmic Exposure Control for
the rendering and uses the average brightness animations with a moving camera. (Automatic
of the scene to map physical values to RGB and Linear Exposure Control with a moving
camera can cause excessive flickering.)
• For outdoor scenes that use the Daylight been rendered, it updates interactively when you
system, turn on the Exterior toggle to prevent changed exposure control settings.
overexposure.
Render Preview—Click to render the preview
thumbnail.
Exposure and Attenuation for Standard
Lights
When you use standard lights that are not Automatic Exposure Control
attenuated, renderings tend to have a low dynamic
range, because light intensities don’t vary greatly Rendering menu > Environment > Environment and
Effects dialog > Environment panel > Exposure Control
across the scene. In this situation, adjusting light rollout > Choose Automatic Exposure Control from the
list. > Automatic Exposure Control rollout
values might be all you need to do to get a good
rendering.
When lights are attenuated, on the other hand, the
light might be too bright on near surfaces or too
dim on far surfaces. In this situation, Automatic
Exposure Control can help, because it adjusts the
larger dynamic range of the (simulated) physical
scene, into the smaller dynamic range of the
display.
Interface Auto exposure can affect the lighting of the whole image.
Automatic Exposure Control samples the rendered

image and builds a histogram to give good color
separation across the entire dynamic range of the
rendering. It can enhance some lighting effects
that would otherwise be too dim to see.
Note: Automatic Exposure Control should not be
used in animations, because every frame will have
Drop-down list—Choose which exposure control
a different histogram, causing your animation to
to use.
flicker.
Active—When on, the exposure control is used in
Important: The mental ray renderer (page 2–1377) does
renderings. When off, the exposure control is not
not support the Automatic exposure control.
used.
Process Background and Environment Maps—When See also
on, the scene background and environment maps
are subjected to exposure control. When off, they
are not.
Preview thumbnail—The thumbnail displays a
preview of the rendered scene with the active
exposure control applied. Once a preview has
Automatic Exposure Control 75
Interface emit more light than the brightest light object in

the scene; in this case, use the object’s Luminance
value as the Physical Scale.
Range=0.0 to 200,000.0 candelas. Default=1500.0.
A single candle is approximately 1 candela (the
unit can also be called a "candle"). A 100-Watt
(W) incandescent light bulb is approximately
Brightness—Adjusts the brightness of the
139 candelas (cd). A 60W bulb emitting in all
converted colors. Range=0 to 200. Default=50.
directions is about 70 cd, while the same bulb with
This parameter is animatable. a reflector is about 4500 cd because the light flux is
concentrated into a narrow angle.
Contrast—Adjusts the contrast of the converted
colors. Range=0 to 100. Default=50. Photometric lights are unaffected by the Physical
Scale value.
This parameter is animatable.
Exposure Value—Adjusts the overall brightness of
the rendering. Range=-5.0 to 5.0; Negative values Color correction check box and color swatch—When
make the image darker, and positive values make the check box is turned on, color correction shifts
it brighter. Default=0.0. all colors so the color displayed in the color swatch
appears as white. Default=off.
The exposure value is comparable to the exposure
compensation setting in cameras with automatic Clicking the color swatch displays a Color Selector
exposure. This parameter is animatable. (page 1–132) so you can choose the color to adapt
to.
Physical Scale—Sets a physical scale for exposure
control to use with lights that are not physically You can use this control to simulate how the
based. The result is an adjustment of the rendering eye adjusts to lighting. For example, even when
that approximates the eye’s response to the scene. the light in a room has a yellow hue from an
incandescent light bulb, we will continue to
Each standard light’s Multiplier (page 3–702) is
perceive objects that we know to be white, such as
multiplied by the Physical Scale value to give a
printed pages, as white.
light intensity value in candelas. For example,
with the default Physical Scale of 1500, a standard Tip: For the best results, use a very pale color
omni light is treated by the renderer and radiosity correction color, such as a pale blue or pale yellow.
as a photometric isotropic light of 1500 candelas. Desaturate Low Levels—When on, renders dimly
Physical Scale is also factored into reflections, lit colors as if the light were too dim for the eye
refractions, and self-illumination. to distinguish between colors. When on, renders
Tip: You need to set the Physical Scale when you use even dimly lit colors. Default=off.
ray-tracing with self illumination. Set this value
Desaturate Low Levels simulates the eye’s response
to the equivalent of the brightest light source in
to dim lighting. In dim lighting, the eye does not
the scene. This will set the appropriate conversion
perceive colors and sees tones of gray instead.
scale for reflections, self-illumination, and all
other non-physically based elements a material The effect of this setting is not apparent except
offers. In some cases, an object might reflect or at very low light levels, below 5.62 footcandles
(lumens per square foot). When the illuminance This parameter is animatable.
is less than 0.00562 footcandles, the scene is
Exposure Value—Adjusts the overall brightness of
completely gray.
the rendering. Range= -5.0 to 5.0. Negative values
Note: 1 footcandle (fc) equals 10.76 lux (lumens make the image darker, and positive values make
per square meter). it brighter. Default=0.0.
The exposure value can be thought of as an
Linear Exposure Control exposure compensation setting in cameras with
automatic exposure control.
Effects dialog > Environment panel > Exposure Control This parameter is animatable.
rollout > Choose Linear Exposure Control from the list. >
Linear Exposure Control rollout Physical Scale—Sets a physical scale for exposure
control to use with lights that are not physically
Linear Exposure Control samples the rendered based. The result is an adjustment of the rendering
image and uses the average brightness of the scene that approximates the eye’s response to the scene.
to map physical values to RGB values. Linear
Exposure Control is best used for scenes with a
fairly low dynamic range.
Note: Linear Exposure Control should not be used with the default Physical Scale of 1500, a standard
in animations, because every frame will have a omni light is treated by the renderer and radiosity
different histogram, causing your animation to as a photometric isotropic light of 1500 candelas.
flicker. Physical Scale is also factored into reflections,
Important: The mental ray renderer (page 2–1377) does refractions, and self-illumination.
not support the Linear exposure control. Tip: You need to set the Physical Scale when you use
See also to the equivalent of the brightest light source in
Environment Panel (page 3–53) the scene. This will set the appropriate conversion
Interface other non-physically based elements a material
offers. In some cases, an object might reflect or
emit more light than the brightest light object in
the scene; in this case, use the object’s Luminance
value as the Physical Scale.
Range=0.0 to 200,000.0 candelas. Default=1500.0.
Brightness—Adjusts the brightness of the unit can also be called a "candle"). A 100-Watt
converted colors. Range=0 to 200. Default=50. (W) incandescent light bulb is approximately
This parameter is animatable. 139 candelas (cd). A 60W bulb emitting in all
Contrast—Adjusts the contrast of the converted a reflector is about 4500 cd because the light flux is
colors. Range=0 to 100. Default=50. concentrated into a narrow angle.
Logarithmic Exposure Control 77
Photometric lights are unaffected by the Physical

Scale value. Logarithmic Exposure Control
This parameter is animatable. Rendering menu > Environment > Environment and
Color Correction check box and color swatch—When rollout > Choose Logarithmic Exposure Control from the
list. > Logarithmic Exposure Control rollout
the check box is turned on, color correction shifts
all colors so the color displayed in the color swatch Logarithmic Exposure Control uses brightness,
appears as white. Default=off. contrast, and whether the scene is outdoors in
Clicking the color swatch displays a Color Selector daylight to map physical values to RGB values.
(page 1–132) so you can choose the color to adapt Logarithmic Exposure Control is better for scenes
to. with a very high dynamic range.
You can use this control to simulate how the
eye adjusts to lighting. For example, even when
the light in a room has a yellow hue from an
incandescent light bulb, we will continue to
perceive objects that we know to be white, such as
printed pages, as white.
Tip: For the best results, use a very pale color Left: The intensity of an sun light completely overexposes a
correction color, such as a pale blue or pale yellow. scene.
Right: Logarithmic exposure control corrects the
Desaturate Low Levels—When on, renders dimly overexposure.
lit colors as if the light were too dim for the eye
to distinguish between colors. When on, renders Note: Logarithmic Exposure Control is the best
even dimly lit colors. Default=off. type of exposure control for animations because it
doesn’t use histograms.
to dim lighting. In dim lighting, the eye does not Note: You can use the Logarithmic exposure
perceive colors and sees tones of gray instead. control with the mental ray renderer (page
2–1377).
The effect of this setting is not apparent except
at very low light levels, below 5.62 footcandles Note: If you need to use Render To Texture (page
(lumens per square foot). When the illuminance 2–1437), you should not use Automatic or Linear
is less than 0.00562 footcandles, the scene is exposure controls. For the best results, use
completely gray. Logarithmic exposure control.
Note: 1 footcandle (fc) equals 10.76 lux (lumens
See also
per square meter).
Interface Each standard light’s Multiplier (page 3–702) is

with the default Physical Scale of 1500, a standard
omni light is treated by the renderer and radiosity
as a photometric isotropic light of 1500 candelas.
Physical Scale is also factored into reflections,
refractions, and self-illumination.
Brightness—Adjusts the brightness of the
converted colors. Range=0 to 200. Default=50. Tip: You need to set the Physical Scale when you use
This parameter is animatable. to the equivalent of the brightest light source in
Contrast—Adjusts the contrast of the converted the scene. This will set the appropriate conversion
colors. Range=0 to 100. Default=50. scale for reflections, self-illumination, and all
other non-physically based elements a material
offers. In some cases, an object might reflect or
Mid Tones—Adjusts the mid-tone values of emit more light than the brightest light object in
the converted colors. Range=0.01 to 20.0. the scene; in this case, use the object’s Luminance
Default=1.0. value as the Physical Scale.
This parameter is animatable. Range=0.0 to 200,000.0 candelas. Default=1500.0.
unit can also be called a "candle"). A 100-Watt
(W) incandescent light bulb is approximately
139 candelas (cd). A 60W bulb emitting in all
a reflector is about 4500 cd because the light flux is
Photometric lights are unaffected by the Physical
Scale value.
Color Correction check box and color swatch—When
the check box is turned on, color correction shifts
all colors so the color displayed in the color swatch
appears as white. Default=off.
Adjusting the value of mid tones Clicking the color swatch displays a Color Selector
(page 1–132) so you can choose the color to adapt
Physical Scale—Sets a physical scale for exposure to.
based. The result is an adjustment of the rendering You can use this control to simulate how the
that approximates the eye’s response to the scene. eye adjusts to lighting. For example, even when
the light in a room has a yellow hue from an
Pseudo Color Exposure Control 79
incandescent light bulb, we will continue to Turn on this toggle when the primary lighting for
perceive objects that we know to be white, such as your scene comes from standard lights rather than
printed pages, as white. photometric lights. When you use standard lights
Tip: For the best results, use a very pale color and turn on Affect Indirect Only, radiosity and
correction color, such as a pale blue or pale yellow. exposure control yield results similar to the default
scanline renderer. When you use standard lights
but leave Affect Indirect Only off, radiosity and
exposure control yield results that can be quite
different from the default scanline renderer.
In general, you don’t need to turn on Affect
Indirect Only when the primary lighting for your
scene comes from photometric lights.
Exterior daylight—When on, converts colors for an
outdoor scene. Default=off.
Color correction can remove the color “cast” that comes

from a light source.
Desaturate Low Levels—When on, renders dimly

lit colors as if the light were too dim for the eye
to distinguish between colors. When off, renders
even dimly lit colors. Default=off.
to dim lighting. In dim lighting, the eye does not The exterior daylight setting compensates for the extreme
intensity of an IES sun light.
perceive colors and sees tones of gray instead.
The effect of this setting is not apparent except
at very low light levels, below 5.62 footcandles Pseudo Color Exposure Control
(lumens per square foot). When the illuminance
is less than 0.00562 footcandles, the scene is Rendering menu > Environment > Environment and
completely gray. rollout > Choose Pseudo Color Exposure Control from the
list. > Pseudo Color Exposure Control rollout
Note: 1 footcandle (fc) equals 10.76 lux (lumens
per square meter). Pseudo Color Exposure Control is actually a
Affect Indirect Only—When on, Logarithmic lighting analysis tool that provides you with an
Exposure control is applied only to areas of intuitive way of visualizing and evaluating the
indirect lighting. Default=off. lighting levels in your scenes. It maps luminance
(page 3–694) or illuminance (page 3–687) values

to pseudo colors that show the brightness of the
values being converted. From darkest to brightest,
the rendering shows blue, cyan, green, yellow,
orange, and red. (Alternatively, you can choose a
grayscale where the brightest values are white, and
the darkest are black.) The rendering includes the
colored or grayscale spectrum bar as a legend for
the image. Three spheres at an equal distance from a light source. The
Note: You can use the Pseudo Color exposure sphere on the left has a matte material, the sphere in the
middle is glossy, and the sphere on the right is glossy but
control with the mental ray renderer (page has a much darker color.
2–1377).
A display of illuminance shows that it is the same for all

three spheres.
Pseudo color exposure of a scene with radiosity. Areas in

red are overlit, areas in blue are underlit, and areas in green
have a good lighting level.
In the rendered frame window labeled

“illuminance,” a legend appears below the image.
If you render a scene using this exposure control,
a special render element (page 2–1433) named A display of luminance shows that the two spheres on the
Illuminance is created in order to obtain accurate left reflect about the same amount of light, but the darker
luminance and illuminance data. sphere on the right reflects little light except for its highlight.
Tip: If you get a file write error when you try to

See also
render a pseudo color image, check the path
and file name of the Illuminance element, or Environment Panel (page 3–53)
the permissions of the PNG file that saves the
illuminance data.
Pseudo Color Exposure Control 81
Interface Scale—Chooses the technique used to map values.

• Logarithmic (the default) uses a logarithmic
scale.
• Linear uses a linear scale.
The Logarithmic scale is useful when the
illumination of the surfaces of interest is low
compared to the maximum illumination in the
scene.
Display Type group

Quantity—Chooses the value being measured.
• Illuminance (the default) displays values of
light incident on surfaces.
• Luminance displays values of light reflected off Left: Linear scale
surfaces. Right: Logarithmic scale
Style—Chooses the way to display values.

Display Range group
• Colored (the default) shows a spectrum.
Minimum (Min.)—Sets the lowest value to measure
• Grayscale shows gray tones that range from and represent in the rendering. Values at this
white to black. quantity or below it all map to the leftmost display
The spectrum bar displays the values the color (or grayscale level).
rendering will use. Maximum (Max.)—Sets the highest value to
measure and represent in the rendering. Values at
this quantity or above it all map to the rightmost
display color (or grayscale value).
Physical Scale—Sets a physical scale for exposure
based. The result is an adjustment of the rendering
that approximates the eye’s response to the scene.
Pseudo color display style: light intensity value in candelas. For example,
Left: Grayscale with the default Physical Scale of 1500, a standard
Right: Colored scale omni light is treated by the renderer and radiosity
as a photometric isotropic light of 1500 candelas.
Physical Scale is also factored into reflections,

refractions, and self-illumination.
Tip: You need to set the Physical Scale when you use
to the equivalent of the brightest light source in Narrowing the range to focus on a single object
the scene. This will set the appropriate conversion
General Guidelines for Physical Scale Values
other non-physically based elements a material • If you use only Photometric lights (page 2–941),
offers. In some cases, an object might reflect or IES Sun (page 2–949), and IES Sky (page
emit more light than the brightest light object in 2–951), the Physical Scale value is disregarded,
the scene; in this case, use the object’s Luminance and you don’t need to change it.
value as the Physical Scale. • If you use Standard lights (page 2–927), the
Range=0.0 to 200,000.0 candelas. Default=1500.0. Physical Scale value acts as a conversion scale
that the radiosity engine uses to calculate
A single candle is approximately 1 candela (the energy. Set it to the equivalent of the brightest
unit can also be called a "candle"). A 100-Watt light source in the scene. This will set the
(W) incandescent light bulb is approximately appropriate conversion scale for reflections,
139 candelas (cd). A 60W bulb emitting in all self-illumination, and all other non-physically
directions is about 70 cd, while the same bulb with based elements a Autodesk VIZ material offers.
a reflector is about 4500 cd because the light flux is
However, if you use the Affect Indirect Only
flag in the Logarithmic Exposure Control (page
Photometric lights are unaffected by the Physical 3–77), you don’t need to worry about the
Scale value. physical scale setting.
This parameter is animatable. Spectrum bar—Shows the spectrum-to-intensity
mapping. The numbers below the spectrum range
from the Minimum to the Maximum settings.
When rendering with pseudo color, the spectrum
bar is displayed beneath the pseudo color image,
labeled either Luminance or Illuminance.
Lighting Data Exporter Utility

Utilities panel > Utilities rollout > Click More. > Utilities
Dialog > Lighting Data Export
The Lighting Data Exporter renders the active

Adjusting the range to analyze: viewport to images that include luminance (page
Above: Correct range for a scene 3–694) and illuminance (page 3–687) data that
Middle: Too narrow a range can be used for lighting analysis.
Below: Too great a range
Atmospheric Apparatus 83
The Lighting Data Exporter does not render the Height—Sets the output height, in pixels.
files unless you have applied an exposure control Default=480.
(page 3–73) to the scene.
You can render to either the TIFF file (page
3–277) format. If you export to a TIFF file, the Export—Click to render luminance and
utility renders a single image file that has separate illuminance data.
channels for luminance and illuminance (the file is Warning: Unlike the renderer, if you click Export more
of the 32-bit SGI LogLUV image type). than once, this overwrites previously rendered files.
You can also render to the PIC file (page 3–270)
format. If you export to a PIC file, the utility
renders two images: one containing luminance
data, and the other containing illuminance data
(see the description of the File Name button, Atmospheric Apparatus
below). Helper Objects
Interface
Atmospheric Apparatus
Create panel > Helpers > Atmospheric Apparatus (from
drop-down list)
You can create three types of atmospheric

apparatuses or gizmos (page 3–683): a box, a
cylinder, or a sphere. These gizmos limit the
spread of fog or fire in your scene.
BoxGizmo Helper (page 3–84)
CylGizmo Helper (page 3–85)
File Name—Click the button to specify a file name SphereGizmo Helper (page 3–87)
for the rendering.
See also
When you export to the PIC format, the Lighting
Data Exporter renders two files. It appends the Fire Environment Effect (page 3–57)
string “_Illuminance” to the name of one file, and Fog Environment Effect (page 3–62)
“_Luminance” to the other. For example, if you
Volume Light Environment Effect (page 3–68)
type house as the file name, the exporter renders to
house_illuminance.pic and house_luminance.pic.
Image Size group

Width—Sets the output width, in pixels.
Default=640.
Add Atmosphere Dialog BoxGizmo Helper

Select Atmospheric Apparatus object. > Modify panel > Create panel > Helpers > Atmospheric Apparatus (from
Atmospheres & Effects rollout > Add button drop-down list) > BoxGizmo
Create menu > Helpers > Atmospherics > BoxGizmo

The Add Atmosphere dialog lets you associate
an atmosphere with the Atmospheric Apparatus
BoxGizmo lets you create a box-shaped gizmo
(page 3–83).
in your scene. Clicking the BoxGizmo button
displays the Box Gizmo Parameters rollout.
Interface
Box gizmo with volume fog

List of atmospheres—Displays the atmospheres
that you can associate with the apparatus.
Procedures
New or existing group To create the BoxGizmo:
These radio buttons choose between new or 1. Drag in a viewport to define the initial length
existing atmospheres. and width, then release the mouse and drag
vertically to set the initial height.
New—Lists only new atmospheres.
2. Click to end BoxGizmo creation.
Existing—Lists only atmospheres that have been
already assigned to other apparatuses in the scene. To add a new atmosphere:
Adding an existing atmosphere creates a new 1. Select the apparatus gizmo.
atmosphere whose settings are initially identical to 2. In the Modify panel, on the Atmospheres &
the previous one. Effects rollout, click Add. This displays the Add
Atmosphere dialog (page 3–84).
3. Choose an atmosphere from the list.
4. Click OK.
This associates a new atmosphere with the
apparatus.
CylGizmo Helper 85
To add an existing atmosphere: Atmospheres & Effects rollout

1. Select the apparatus gizmo.
2. In the Modify panel, on the Atmospheres &
Effects rollout, click Add. This displays the Add
3. In the dialog, choose Existing.
5. Click OK.
This creates a duplicate atmosphere for the
apparatus. Its settings are initially identical to
the atmosphere you chose. You can adjust them
using Setup. The Atmospheres & Effects rollout, available from
the Modify panel, allows you to add and set up
Interface atmospheres directly to the gizmo.
Name and Color rollout
Add—Displays the Add Atmosphere dialog (page
The Name and Color rollout (page 3–479) lets you 3–84) from which you can add an atmosphere to
rename objects and change their wireframe color. the BoxGizmo.
Box Gizmo Parameters rollout Delete—Deletes a highlighted atmospheric effect.
Setup—Displays the Environment panel (page

3–53), where you can edit the highlighted effect.
CylGizmo Helper
Create panel > Helpers > Atmospheric Apparatus (from
drop-down list) > CylGizmo
Create menu > Helpers > Atmospherics > Cylinder Gizmo
CylGizmo lets you create a cylinder-shaped gizmo

Length, Width, and Height—Set the dimensions of
in your scene. Clicking the CylGizmo button
the box gizmo.
displays the Cylinder Gizmo Parameters rollout.
Seed—Sets a base value used to generate the
atmospheric effect. Each apparatus in the scene
should have a different seed. If more than
one apparatus uses the same seed and same
atmospheric effect, they will produce nearly
identical results.
New Seed—Click to generate a random number
automatically and place it in the seed field.

the atmosphere you chose. You can adjust them
using Setup.
Interface
The Name and Color rollout (page 3–479) lets you
rename objects and change their wireframe color.
Cylinder Gizmo Parameters rollout

Cylinder gizmo with volume fog
Procedures
To create the CylGizmo:
1. Drag in a viewport to define the initial radius,
then release the mouse and drag vertically to set
the initial height.
2. Click to end CylGizmo creation.
Radius and Height—Set the dimensions of the
To add a new atmosphere: cylinder gizmo.
1. Select the apparatus gizmo. Seed—Sets a base value used to generate the
2. In the Modify panel on the Atmospheres & atmospheric effect. Each apparatus in the scene
Effects rollout, click Add. This displays the Add should have a different seed. If more than
Atmosphere dialog (page 3–84). one apparatus uses the same seed and same
identical results.
4. Click OK.
apparatus.
To add an existing atmosphere:

2. In the Modify panel on the Atmospheres &
5. Click OK.
SphereGizmo Helper 87
Atmospheres & Effects rollout
Sphere gizmo with volume fog

The Atmospheres & Effects rollout, available from
the Modify panel, allows you to add and set up Procedures
atmospheres directly to the gizmo. To create the SphereGizmo:
Add—Displays the Add Atmosphere dialog (page 1. Drag in any viewport to define the initial radius.
3–84) from which you can add an Atmosphere to 2. Adjust the radius with the spinner.
the CylGizmo.
Delete—Deletes a highlighted atmospheric effect. To add a new atmosphere:
Setup—Displays the Environment panel (page
3–53), where you can edit the highlighted effect. 2. In the Modify panel on the Atmospheres &
SphereGizmo Helper 3. Choose an atmosphere from the list.
Create panel > Helpers > Atmospheric Apparatus (from 4. Click OK.
drop-down list) > SphereGizmo
Create menu > Helpers > Atmospherics > Sphere Gizmo apparatus.
SphereGizmo lets you create a sphere- or To add an existing atmosphere:

hemisphere-shaped gizmo in your scene. Clicking 1. Select the apparatus gizmo.
the SphereGizmo button displays the Sphere
2. In the Modify panel on the Atmospheres &
Gizmo Parameters rollout.
5. Click OK.
the atmosphere you chose. You can adjust them Atmospheres & Effects rollout
using Setup.
Interface
The Name and Color rollout (page 3–479) lets you
rename objects and change their wireframe color.
Sphere Gizmo Parameters rollout
The Atmospheres & Effects rollout, available from

the Modify panel, allows you to add and set up
atmospheres effects directly to the gizmo.
Add—Displays the Add Atmosphere dialog (page
2–980) from which you can add an Atmosphere to
the SphereGizmo.
Radius—Sets the radius of the default sphere.
Delete—Deletes a highlighted atmospheric effect.
Hemisphere—When turned on, the bottom half
of the SphereGizmo is discarded, creating a Setup—Displays the Environment panel (page
hemisphere. 3–53), where you can edit the highlighted effect.
Seed—Sets a base value used to generate the

atmospheric effect. Each apparatus in the scene
should have a different seed. If more than
one apparatus uses the same seed and same
identical results.
Managing Scenes and Projects
• The Bitmap / Photometric Path Editor utility

Managing Scenes and Projects (page 3–123) lets you view bitmap paths or
These topics are concerned with managing scenes, remove them from the scene file.
projects, and the files that make them up. • The Content Browser (page 3–124) stores tools
and design content in a central location.
Working with AutoCAD, Revit and • The File Finder (page 3–126) is another
Architectural Desktop resource for finding Autodesk VIZ scenes.
Autodesk VIZ contains many features designed • The Resource Collector (page 3–127) copies or
to streamline the design visualization workflow. moves a scene’s bitmaps into a single directory.
See Working with Drawing Files (page 3–316).
• The Fix Ambient utility (page 3–128) resolves
The File Link Manager (page 3–323) allows you
lighting issues with older versions of scene files.
to create a live link to a DWG file. You can then
apply materials and animations in Autodesk VIZ, • The Bitmap Pager Statistics dialog (page 3–129)
but still update your geometry if any changes are provides information that helps you resolve
made to the original file. issues with scenes that require large amounts of
memory for texture maps.
File-Handling Commands
Geometry File Formats
The principal commands for handling files (page
3–90) are found on the default File menu (page You can import a variety of geometry file formats
3–385), as in most Windows applications. (page 3–135) into a scene.
File-Handling Utilities Image File Formats

Several utilities help you manage files: You can use image file formats (page 3–251)
in a variety of ways: as textures for materials,
• The Asset Browser (page 3–117) provides
as backgrounds to viewports, as background
another way to find and preview files and use
environments, and as images projected from a
them in Autodesk VIZ scenes
light.
90 Chapter 16: Managing Scenes and Projects
RAM Player Save Selected (page 3–96)

You can preview images by using the View File XRef Objects (page 3–281)
command (page 3–114), or by using the more
XRef Scene (page 3–292)
interactive RAM Player (page 3–278).
File Link Manager Utility (page 3–323)
External References (XRefs) to Objects
Merge (page 3–97)
and Scenes
External references (page 3–280) to objects and Replace (page 3–99)
scenes are another powerful way to manage Import (page 3–100)
a project, especially when it involves multiple
contributors.
Export (page 3–101)
Export Selected (page 3–101)
Schematic View
Asset Tracking (page 3–102)
Schematic View (page 3–302) displays the scene
as a graphic schema instead of as geometry. It Archive (page 3–110)
gives you an alternate way to select or rename Summary Info (page 3–111)
the objects in your scene, and to navigate among
modifiers. It is especially useful for viewing objects
File Properties (page 3–112)
in a hierarchy. Print Setup (page 3–113)
Print Viewport (page 3–114)
View Image File (page 3–114)
Exit (page 3–116)
File-Handling Commands
The main file-handling commands are on the See also
default File menu (page 3–385). These commands Asset Browser Utility (page 3–117)
are for creating, opening, and saving scenes;
importing and exporting other 3D file formats; Content Browser
viewing a 2D image file; displaying or changing a Geometry File Formats (page 3–135)
scene file’s properties; exiting Autodesk VIZ and
other operations. Image File Formats (page 3–251)
New (page 3–90) RAM Player (page 3–278)
Reset (page 3–91)

Open (page 3–91) New
Open Recent (page 3–94) File menu > New
Save (page 3–94) Keyboard > CTRL+N
Save As (page 3–95) New clears the contents of the current scene
Save Copy As (page 3–96) without changing system settings (viewport
Reset 91
configuration, snap settings, Material Editor,

background image, and so on). The New Reset
command also gives you the option, when you use
File menu > Reset
it while a populated scene is active, to reuse objects
from the current scene in the new one.
Reset clears all data and resets the program
settings (viewport configuration, snap settings,
Procedure Material Editor, background image, and so on).
To create a new scene: Resetting restores the startup defaults, saved in the
1. Choose File > New or press CTRL+N. file vizstart.max, and removes any customization
you might have done during the current session.
2. In the New Scene dialog, specify the types of
objects to keep, if any. Resetting has the same effect as exiting and
3. Click OK.
restarting Autodesk VIZ.
Tip: To change the startup defaults, start
Interface Autodesk VIZ and make the adjustments you
would like to see at startup. Then save the file to
your scenes/ directory as vizstart.max.
Procedure
If you have made changes since the last Save
operation, a dialog prompts you whether you want
to save your changes.
To reset Autodesk VIZ:

1. Choose File > Reset.
The New Scene dialog has the following controls: If you have made any changes since the last
Keep Objects and Hierarchy—Keeps the objects and Save operation, a dialog prompts you to save
the hierarchical links (page 3–684) between them, them. As further protection against data loss, a
but removes any animation keys (page 3–690). confirmation dialog appears.
Note: If the current scene has any file links, 2. When asked if you really want to reset, click Yes.
Autodesk VIZ performs a Bind operation on all Clicking No on this dialog cancels the Reset
linked files. operation.
Keep Objects—Keeps the objects in the scene,
but removes any links between them and any
animation keys.
Open
Warning: This option should not be used when working File menu > Open
with a scene containing linked or imported objects. Keyboard > CTRL+O
New All (Default)—Clears the contents of the
current scene. Open loads a scene file (MAX file) or VIZ Render
file (DRF File (page 3–136)) from an Open File
dialog. You can also choose a previously opened set to 1 unit = 1 foot, a sphere with a radius of
file and use command-line options (page 3–383). 100 feet remains 100 feet.
The MAX file type is a complete scene file. • If you rescale the file objects, the objects are
scaled as if they had been created using the
A DRF file is a scene file from VIZ Render, current scene unit scale.
a rendering tool included with Autodesk
Architectural Desktop 2005. The DRF file type is For example, if the current system unit scale
very similar to MAX files from previous versions is set to 1 unit = 1 inch, and the incoming file
of Autodesk VIZ. was set to 1 unit = 1 foot, a sphere with a radius
of 100 feet becomes 1200 inches in radius
If the file you’re loading was created using plug-ins (assuming the unit display is set to generic
that are not installed, a dialog lists them. You units).
can still load the file, but any entities in the scene
that were created by the missing plug-ins are If Respect System Units In Files is off (which is
replaced with stand-ins; non-rendering boxes or not recommended), Autodesk VIZ disregards the
placeholder modifiers. You can safely delete these units chosen in the loaded scene file.
from the scene, unless you are sharing the scene For example, a 100-unit radius sphere that was
with a user who has the plug-ins installed. created in a 1 unit = 1 foot scene becomes a
If the file you are loading contains bitmaps that 100-inch sphere in a 1 unit = 1 inch scene.
cannot be located, a Missing External Files dialog
(page 3–116) appears. This dialog lets you browse Procedures
for the missing maps, or continue opening the file To reopen a previously opened file:
without loading them. • From the bottom of the File menu, choose the
file name.
Automatic Unit Conversion
You set the number of files listed by changing
When Respect System Units In Files is turned on the Recent Files In File Menu (page 3–548)
in the System Unit Scale group of the System Unit field on the Files panel of the Customize >
Setup dialog (page 3–581), loaded files that have a Preferences dialog.
different scene unit scale display a File Load: Units
Mismatch dialog (page 3–584). This dialog lets To start Autodesk VIZ and open a specific file:
you rescale the loaded scene to the current scene • In a command prompt window, specify the file
unit scale, or change the current scene unit scale to name after the executable name. For example:
match the one in the loaded file. No conversion is
done when loading files created in Autodesk VIZ c:\Program Files\Autodesk VIZ
1.x. 2006\3dsviz.exe myproject.max
• If you choose to match the units in the loaded To start Autodesk VIZ and open the last file you
file, the System Unit Scale setting in the System worked on:
Unit Setup dialog is changed to the setting in
• In a command prompt window, type -L after
the scene file.
the executable name:
For example, if the current system unit scale is
c:\Program Files\Autodesk VIZ
set to 1 unit = 1 inch, and the incoming file was
2006\3dsviz.exe l
Open from Vault 93
Interface but you will no longer be able to edit it in earlier

versions of the software.
Don’t display this message—When turned on, you
will not see the Obsolete File dialog. The dialog
is also controlled by the Display Obsolete File
Message switch on the Customize > Preferences
> Files panel.
Note: If you still need to open the scene using an
earlier version of Autodesk VIZ, use File > Save
As (page 3–95) and save the file using a different
The Open File dialog has standard Windows file
name. Then you will be able to open the orginal
open controls. At the right, the Thumbnail area
file with the earlier version.
shows a preview of the scene whose file name is
highlighted in the list on the left.
Tip: You can resize the dialog by dragging an edge Open from Vault
or a corner.
File menu > Open from Vault
Clicking the plus button appends a sequence
number to the file name you entered, or increments The Open From Vault command lets you open
the sequence number if the name already has one, a MAX file directly from Autodesk Vault, the
and then opens the file of that name, if it is present. data-management provider included with
Autodesk VIZ. This allows for secure control and
For example, if you have highlighted a file named versioning of assets used in the digital-content
test00.max, clicking the plus button changes the creation process without the need to use the Vault
name to test01.max and then opens test01.max. client.
Opening an Obsolete File Note: Open From Vault appears on the File menu
only if you installed the Vault client, an optional
When opening a scene created in an earlier version part of the Autodesk VIZ software installation.
of Autodesk VIZ, you will see an Obsolete File
dialog. See also
Asset Tracking Dialog (page 3–102)
Procedure
To use Open From Vault:
1. Open the File menu and choose Open From
Vault.
2. If you’re not logged in to a provider, you’re
asked to log in via the Vault Log In dialog. Fill
If you resave the scene, you will overwrite the file.
out the form and then click OK.
You can still edit it using Autodesk VIZ 2006,
3. Use the Open File From Vault dialog to browse
the vault and choose a MAX file to open.
4. At this point, one of two things happens:

• If the file is available for checkout, a dialog
Open Recent
opens letting you know that the file is under File menu > Open Recent
version control and asking you if you want to
check it out before making edits. Click Yes. Open recent displays a list of recently opened and
• If another user has the file checked out, a saved files. The list is sorted in chronological
dialog opens notifying you of this and telling order, with the most recent files at the top.
you that you won’t be able to save edits. Click
OK to open the file in read-only mode. If Procedure
you attempt to save this file, a dialog appears To change the number of files displayed in the Open
notifying you that the scene file is read-only Recent list:
and will not be overwritten. 1. Choose Customize > Preferences > Files tab >
5. If you attempt to open a different file or use File Handling.
the New or Reset command while the file is 2. Set a value for Recent Files In File Menu. The
checked out, a dialog appears asking if you want upper limit is 50.
to check the files back in. Enter a comment, if
appropriate, and then click OK to check the file
in. Save
Alternatively, if you just want to create a new
File menu > Save
version on the provider, turn on Keep Checked
Out and then click OK. A new version will be Keyboard > CTRL+S
created, but the file will still be checked out to
you. Save updates the current scene by overwriting the
last save of the scene. If no scene was previously
Interface saved, this command works like Save As (page
3–95).
Note: If you haven’t set a working folder, the
following dialog appears when you attempt to
See also
open a file from the vault:
Save As (page 3–95)
Save Copy As (page 3–96)
Saving to an Obsolete File

When you open a file that was created with an
After you click OK, the Browse For Folder dialog earlier version of the software, and then attempt
opens, which you can use to specify a working to save it in a current version of Autodesk VIZ,
folder. an alert is displayed, warning you are about to
overwrite the obsolete file.
Save As 95
See also
Save (page 3–94)
Save Copy As (page 3–96)
Procedure
To save a file to a different name:
1. Choose File > Save As.
Choose Yes to go ahead and overwrite the original
file, No to stop the Save. If you choose No, you can 2. Do one of the following:
use Save As (page 3–95) to save the file under a • Enter a name in the File Name field.
different name. • Click the Increment button.
If you save to the original file name, you can still
edit it using the current version of the software, Interface
but you will no longer be able to edit it in earlier
versions of Autodesk VIZ.
Interface
When you save a scene, you also save the program
settings. When you open the file again, it opens
with the same viewport configuration, view and
zoom levels, snap and grid settings, and so on.
You can incrementally number saved files, and The Save File As dialog has standard Windows file
make automatic backup files at specified time save controls. At the right, the Thumbnail area
intervals. These options, Increment On Save and shows a preview of the scene whose file name is
Backup On Save, are on the Files panel (page highlighted in the list on the left.
3–548) of the Preference Settings dialog. Tip: You can resize the dialog by dragging an edge
or a corner.
Save As Clicking the plus button appends a sequence

number to the file name you entered, or increments
File menu > Save As
the sequence number if the name already has one,
and then saves the file to that name.
Save As saves the current scene file under a
different file name. For example, if you have highlighted a file named
test00.max, clicking the plus button changes the
Note: Autodesk VIZ lets you number saved files
name to test01.max and then saves test01.max.
incrementally and make automatic backup files
at specified time intervals. The options to set up
Increment On Save and Backup On Save are on the
Files panel (page 3–548) of the Preference Settings
dialog.
Save Copy As displays a standard Windows save

Save Copy As dialog. Save Copy As increments the number at
the end of the file name in order to propose unique
File menu > Save Copy As
but similarly-named files each time the command
is used.
Save Copy As allows you to save a copy of the
current scene under a different file name. It does Clicking the Save button saves the file to the name
not change the name of the file being worked on. displayed in the File Name text box.
Important: Save Copy As does not update the original Tip: You can resize the dialog by dragging an edge
file name as Save does, and Save does not update the or a corner.
file you last saved using Saved Copy As. For example,
if you make edits to a Autodesk VIZ scene named Clicking the plus button saves the file with a
filename.max, then use Save Copy As with the file name ending in a number one increment greater
name filename01.max, make additional edits, and then than that displayed in the File Name text box.
click Save, your second set of edits will be saved as
filename.max but not as filename01.max.
Save Selected
See also
Select objects to save. > File menu > Save Selected
Save (page 3–94)
Save Selected saves the selected geometry as a
Save As (page 3–95)
scene file under a different file name.
Auto Backup (page 3–548)
Identically named bitmaps with different
properties are stored as different files. Objects
Procedure
linked to a selected object are also saved. The
To save a copy of the file to a different name: following dependencies are preserved for a Save
1. Choose File > Save Copy As. Selected operation:
2. Browse or type the name of the file you want to • Ancestors of selected child objects are saved, all
create or update. the way to the root of the hierarchy.
3. Click the Save button. • IK follow objects to which selected objects are
bound are saved.
Interface
Procedure
To save selected objects to a new file:
1. Select one or more objects.
2. Choose File > Save Selected.
3. Enter a name in the File Name field.
4. Click Save.
Merge 97
Cancel—Cancels the merge operation.

Merge
When one or more materials assigned to incoming
File menu > Merge objects have the same name as materials in the
scene, an alert gives you the following options:
Merge allows you to bring objects from other
Rename Merged Material—Defines the name for
scene files into the current scene. You can also use
incoming material.
merge if you want to combine an entire scene with
another. Use Merged Material—Assigns the characteristics
of the incoming materials to the same-named
Automatic Unit Conversion scene materials.
When Respect System Units in Files is turned on Use Scene Material—Assigns the characteristics of
in the Units Setup dialog (page 3–581), in the the scene materials to the same-named incoming
System Unit Scale group, merged objects from a materials.
file with a different scene unit scale are scaled to
Note: Only top-level material names (not
maintain their correct size in the new scene. No
sub-materials) are checked for duplicates.
conversion is done when merging files created in
Autodesk VIZ 1.x. Auto Rename Merged Material—Automatically
renames the incoming materials to new names.
Note: If Respect System Units is off (which is not
Uses Material number names based on the next
recommended), a 100-foot radius sphere that
available Material number.
was created in a 1 unit = 1 foot scene becomes a
100-inch sphere in a 1 unit = 1 inch scene. Apply to All Duplicates—Treats all subsequent
incoming Materials with duplicate names the same
Resolving Conflicts When Merged way you specified for the current object.
Objects Have the Same Name
When one or more incoming objects have the See also
same name as objects in the scene, an alert gives Open (page 3–91)
you the following options:
Replace (page 3–99)
Merge—Merges the incoming object using the
name in the field at the right. To avoid having two Procedures
objects with the same name, type a new name To merge items:
before proceeding.
This is the general procedure. Detailed steps
Skip—Does not merge the incoming object. follow.
Delete Old—Deletes the existing object before 1. Choose File > Merge.
merging the incoming one. 2. Select a file from which to merge items.
Apply to All Duplicates—Treats all subsequent 3. Choose a group or an item to merge.
incoming objects with duplicate names the same
way you specified for the current object. No
further alerts will appear. This option is not
available if you renamed the current object.
To specify object types to list, do any of the following:

• Display or hide the subtree. If the subtree is
not displayed, you can sort items in the list
alphabetically or by type or color.
• Select the object types that you want displayed
in the list box.
• Click All or None to select or clear all of the
object types.
To select objects to merge, do any of the following:

• Enter the name of an item, or use wildcard
characters to specify multiple items that share a
set of characters in their names.
• Click to select single objects.
• Press CTRL and click to add and remove single After you select a file, select the objects to merge in
objects from the selection. the Merge dialog. Either enter the object name or
select the object from the Object List.
• Press SHIFT and click to select all objects
between the previously selected object and the All/None—Selects all list items or no items.
current object. Invert—Reverses the current list selection.
• Click All or None to select or deselect the entire
Display Subtree—Displays the objects in the list in
list.
an indented format. Turn off this option to activate
• Click and drag to select items to merge from the Sort group options.
the list on the left.
Select Subtree—When this option is turned on,
Interface all items indented below the selected one are also
selected.
In the standard file selector dialog, select the scene
file to merge. To see more than one file type at a Case Sensitive—Distinguishes between uppercase
time, choose the All Files file type. and lowercase for item names.
Sort group
Options allow you to sort the list on the left. If the
Display Subtree check box is on, these options are
not available.
Alphabetical—Sorts from A at the top to Z at the
bottom.
By Type—Sorts by category, using the same order
as the check boxes in List Types.
By Color—Sorts by object wireframe color.
Replace 99
List Types group 2. Select a file from which to choose replacement

items.
Determines which components in the scene are
displayed in the list on the left: geometry, shapes, 3. On the Replace dialog for that file, choose a
lights, cameras, helpers, or groups/assemblies. group or a replacement item. (See the following
Group and assembly names appear in brackets. procedure.)
All/None—Turns all check boxes on or off. An alert asks if you want to replace the materials
along with the objects.
Invert—Reverses the current status of check boxes.
• If yes, the materials from the incoming
objects replace the current materials.
Replace • If no, only the geometry is replaced, while
the material assigned to the original object
File menu > Replace is retained.
Replace lets you substitute the geometry of one or To select objects to replace, do one of the following:
more objects in a scene by merging objects with
• Enter the name of an item, or use wildcard
duplicate names. Use Replace when you want to
characters to specify multiple items that share a
work with less complex geometry to set up your
set of characters in their names.
scene and animation, and then replace it with
more detailed geometry before rendering. • Click to select single objects.
• When you replace an object in your scene, you • Press CTRL and click to add and remove single
replace its geometry, including its modifiers, objects from the selection.
but not its transforms, hierarchy, or materials. • Press SHIFT and click to select all objects
• To replace the object with all its characteristics, between the previously selected object and the
use Merge (page 3–97). current object.
• If the object that you’re replacing has instances • Click All or None to select or deselect the entire
in the scene, all of the instances are replaced list.
with the new object.
Interface
• All objects in the scene with the same name as
the incoming object are replaced by that object. When you choose replace, a standard file selector
If you have more than one object in the scene dialog is displayed. Use the file selector to choose
with the same name as the incoming object, all the scene file with the replacement objects. After
of those objects are replaced. you click Open, the Replace dialog is displayed.
Tip: In the file selector, you can see more than one
Procedures file type at a time by choosing the All Files file type.
To replace items:
1. Choose File > Replace to display the Replace
File dialog.
To see more than one file type at a time, choose
the All Files file type.
List Types group

Determines which object types are displayed in the
list: geometry, shapes, lights, cameras, or helpers.
All—Turns on all check boxes in the group.
None—Turns off all check boxes in the group.
Invert—Inverts the current state of the check boxes.
Import
File menu > Import
Import loads or merges geometry files that are

not Autodesk VIZ scene files. See the following
In the Replace dialog, select the objects to replace. procedure for a complete list of file types you can
Either enter the object name or select the object import.
from the list.
All—Selects all objects in the list. Procedure
To import a file:
None—Deselects all objects in the list.
1. Choose File menu > Import.
Invert—Inverts the current list selection.
2. Choose an import file type from the Files Of
Display Subtree—Displays object hierarchies in an Type list in the file selector dialog. To see more
indented format. than one file type at a time, choose the All Files
When this option is off, the Sort group is enabled. file type.
Select Subtree—When this option is on, all items

• 3D Studio Mesh (3DS) (page 3–141)
indented below the selected one are also selected. • 3D Studio Project (PRJ) (page 3–142)
Case Sensitive—When on, distinguishes between • 3D Studio Shape (SHP) (page 3–144)
upper and lower case in object names. • Adobe Illustrator (AI) (page 3–145)
• AutoCAD (DWG) (page 3–147)
Sort group
• AutoCAD (DXF) (page 3–159)
These are options for sorting the object list. If the
Display Subtree check box is on, these options are • Autodesk Inventor (IPT, IAM) (page 3–165)
not available. • Initial Graphics Exchange Standard (IGES)
(page 3–174)
Alphabetical—Sorts from A at the top to Z at the
bottom. • FiLMBOX (FBX) (page 3–168)
By Type—Sorts by category, using the same order • LandXML /DEM /DDF (DEM, XML, DDF)
as the check boxes in List Types. (page 3–191)
By Color—Sorts by object wireframe color.

Export 101
• Lightscape Solution (LS), Lightscape • Shockwave 3D (page 3–225)

Preparation (LP), and Lightscape View • Kaydara (FBX) (page 3–171)
(VW) (page 3–210)
• Initial Graphics Exchange Standard (IGES)
• Stereolithography (STL) (page 3–231) (page 3–176)
• • Lightscape Material (ATR) (page 3–208)
• VIZ Material XML Import (XML) • Lightscape Blocks (BLK) (page 3–203)
Note: This applies the imported material • Lightscape Parameter (DF) (page 3–209)
directly to selected objects. See Material
XML Exporter Utility (page 2–1037) for • Lightscape Layers (LAY) (page 3–208)
information on creating this file type. • Lightscape View (VW) (page 3–201)
3. Select a file to import. • Lightscape Preparation File (LP) (page
4. For some file types, a second dialog appears,
3–192)
with options specific to that file type. Choose • Stereolithography (STL) (page 3–233)
the import options you want. • VRML97 (WRL) (page 3–234)
Export 4. Depending on the file type you choose, you

might be presented with options available for
File menu > Export that export choice. If a second dialog appears,
choose the export options you want.
Export converts and exports Autodesk VIZ scenes
in various formats. See the following procedure
for a complete list of file types you can export. Export Selected
See also Select one or more objects. > File menu > Export Selected
Export Selected (page 3–101)

Export Selected exports selected geometry as 3D
Studio Mesh (3DS), Adobe Illustrator (AI), ASCII
Procedure
Scene Export (ASE), 3D Design Web Format
To export a file: (DWF) or AutoCAD Drawing Interchange Format
1. Choose File menu > Export. (DXF) files. Autodesk VIZ also supports export to
Shockwave 3D (W3D) format.
2. Choose an export file type from the Files Of
Type list in the file selector dialog. For information on what data Autodesk VIZ
• 3D DWF (page 3–139) exports for the supported formats, see:
• 3D Studio (3DS) (page 3–143) Exporting to 3DS (page 3–143)
• Adobe Illustrator (AI) (page 3–145) Exporting to Adobe Illustrator (page 3–145)
• ASC Scene Export (ASE) (page 3–145) Exporting to ASCII (page 3–145)
• AutoCAD (DWG) (page 3–157)
Exporting 3D DWF Files (page 3–139)
• AutoCAD (DXF) (page 3–165)
Exporting to DXF Files (page 3–165)
Exporting to Shockwave 3D (page 3–225) Microsoft Visual Studio, sometimes referred to

as MSSCC support. This topic assumes usage of
When you choose Export Selected, a file dialog
Autodesk Vault.
appears, from which you can choose a type of
format from the Save as type list. Note: When you have Vault installed, you can open
files directly from the Vault database with the File
Procedure menu command Open from Vault (page 3–93).
This command mimics the file open dialog, but
To export selected objects to a file:
browses the vault instead of the file system. In
1. Select one or more objects. addition to opening the scene file, it downloads or
2. Choose File menu > Export Selected. updates any dependent scene files, such as bitmaps
and XRefs.
4. From the Save As Type drop-down list, choose Another important function of the Asset Tracking
a file format. dialog is for repathing; locating missing files.
For example, if you move bitmap files used by
5. Click the Save button.
materials in your scene to the same folder as the
scene file, the bitmaps will be loaded when you
open the scene file, but the materials will still use
the original, no-longer-valid path for the bitmap
files, and the Asset Tracking dialog will show the
Asset Tracking files as missing. To resolve the incorrect paths, you
can use the tools available from the Paths menu.
Note: The Asset Tracking dialog provides the
Asset Tracking Dialog
principal functionality for working with the
File menu > Asset Tracking Vault data-management solution from within
Autodesk VIZ, but you can also work directly with
The Asset Tracking feature provides direct access Vault using the Vault Explorer client software,
within Autodesk VIZ to asset tracking systems which is included with Autodesk VIZ. To run Vault
(ATS), also known as providers. You use asset Explorer, go to Windows Start menu > Autodesk >
tracking systems to share files such as scene Autodesk Data Management and choose Autodesk
files and bitmaps used in materials with other Vault Explorer. To learn more about using Vault
members of your development team. With the Explorer, open the Autodesk Vault Explorer Help
Asset Tracking dialog, you can check files in and menu and choose Autodesk Vault Help Topics, or
out, add files to the ATS, get different versions of simply press F1 while the Vault Explorer window
files, etc., all from Autodesk VIZ without the need is active.
to use separate client software.
Asset tracking provides full support for the
See also
Autodesk Vault data-management solution, and Open from Vault (page 3–93)
basic version-control support for other providers,
Prompts Dialog (page 3–109)
such as Perforce and Microsoft SourceSafe. In
general, asset tracking supports version-control Asset Tracking Dialog Icons (page 3–109)
providers that are capable of integrating into
Asset Tracking Dialog 103
Procedure Interface
To coordinate local files with Vault files:
For optimal coordination between your local files
and those in the Vault, maintain a one-to-one
correspondence between the folder structure
in the database and the structure on your local
drive (the working folder and its subdirectories),
and keep all files that you’ll be checking in and
out in the local version of the structure. Create a
local folder structure for Vault files and then use Menu bar
Options to map the top of the local structure to the The menu bar provides access to most Asset
top of the Vault structure (i.e., Vault($)). Tracking functions. Most of the menu functions
1. Create a working folder on a local drive to are also available from the right-click menu
contain all files to be coordinated with other available in the dialog window.
users via the Vault. For example, you could call Note: If you highlight and then CTRL+right-click
the working folder My_Vault. one or more assets all of which reside in the same
2. Open the Asset Tracking dialog and log in to directory, a version of the Windows Explorer
the tracking database if necessary. context menu opens. This lets you perform such
3. On the Asset Tracking dialog, choose Server
functions as cutting or copying the file, or sending
menu > Options. it to the desktop as a shortcut for easy access.
4. On the Vault Options dialog, click the Change Server menu

button and then use the Browse For Folder
Log in—Displays the Vault Log In dialog. Enter
dialog to choose the folder you created in step 1.
your user name, password, server name, and
Tip: You can also use the Browse For Folder database, and then click OK. After entering a
dialog to create this folder. server name, you can click the ellipsis (...) button
Now, when you open a file from the Vault display all available databases and choose one
(page 3–93), the folder structure in which from the dialog.
the file resides in the Vault is replicated in
your local folder, if necessary. Likewise,
when you add a file to the Vault, the local
structure is replicated in the Vault, if necessary.
For example, if you open a character mesh
from Vault($)\max_files\characters\
and the file uses a bitmap stored
inVault($)\max_files\characters\face_maps\,
the character mesh is stored locally
in My_Vault\max_files\characters\
and the map file is stored locally in
You can log in automatically in future sessions
My_Vault\max_files\characters\face_maps\.
without having to use the Vault Log In dialog if you
turn on “Use these settings next session.” This also specify whether to replace the local copies with the
turns on Options > “Log in using saved settings.” checked-out version, and enter a comment.
The login settings are stored in the file If you enter a comment, it’s copied to the Working
3dsmax8\plugcfg\ATSVaultLogin.ini. Comment dialog.
Log out—Logs you out of the database. Tip: Always be sure to check out an asset before
modifying it, even if you have a writable version
Options—Opens the Vault Options dialog, where
on a local drive. This prevents other users from
you can view the working folder and specify a new modifying the file at the same time, and lets you
one (click the Change button). Available only maintain strict version control over the asset.
when logged in.
Checkin—Lets you check in the highlighted assets
in the Asset Tracking dialog list of assets. This
opens a dialog that lets you confirm the checkin,
specify whether to keep the assets checked out,
and enter a comment. Also, if the assets have been
edited but not saved locally, you’re prompted to
save first.
Checking in an asset increments the current
version number of the asset as stored in the
database, and saves the current Comment text
Important: The working folder is a folder on your local along with the asset.
drive that mirrors the top-level folder of the provider Undo Checkout—Reverses a checkout, setting the
database structure. For further information, see this highlighted assets’ status to checked in, without
procedure (page 3–103). saving any changes.
You can log in automatically in future sessions, Add Files—Lets you add files in the scene, such
bypassing the Vault Log In dialog, if you turn on as bitmaps used in materials, to the provider
“Log in using saved settings.” This also turns on database. To add a file, load it (such as a scene file)
Vault Log In > “Use these settings next session.” or add it to the scene (such as a bitmap used in a
Launch Provider—Opens the database client material), highlight it in the Asset Tracking dialog,
program. This is the same as running the program and then use Add Files.
from the Start menu. It doesn’t necessarily open to You can add multiple files at the same time.
the same database you’re using in Autodesk VIZ.
Note: You cannot add a file that doesn’t exist on a
File menu local drive, such as an unsaved scene file. Also, you
cannot add a file that’s not in the working folder,
Most of the File menu commands are available as specified via Options. For best results, before
only when you’re logged in. adding a file, make sure it exists in a local folder
Checkout—Lets you check out the highlighted within a structure that mirrors the one in the Vault.
assets in the Asset Tracking dialog list of assets, For details, see this procedure (page 3–103).
if the assets are available for checking out. This Get Latest—Downloads the most recent
opens a dialog that lets you confirm the checkout, (highest-numbered) version of the highlighted
asset from the database. Use this when a teammate Reveal In Explorer—Opens a Windows Explorer
has updated an asset such as a bitmap. dialog showing the location of the highlighted
asset.
History—Opens a History dialog from which you
can get any version of the highlighted asset. When Custom Dependencies—Opens a dialog that lets
the dialog opens, highlight the version to get by you specify files to be dependents of the current
clicking it and then click Get Version. You can also scene; files that aren’t necessarily present in the
right-click the asset and choose Get Version from current scene but should be associated with
the context menu. it. On the Custom Dependencies dialog, click
the Add button and then use the Add Custom
Properties—Opens a read-only dialog that shows
Dependencies file browser to open dependent files.
information about the highlighted asset such as
vault and local locations, versions, and check-out The Custom Dependencies function lets you
status. associate files that aren’t true scene dependencies.
A true dependent file is required for rendering,
Get From Provider—Lets you copy files from the
animation, exporting, etc. A custom dependency
database to the local working folder. Use the Get
might be reference art work, a text file with scene
Files dialog to navigate to the folder from which
documentation or tasks to accomplish, custom
to get files, highlight any number of files, and
scripts, etc. Basically, any collection of files that
then click Open. The highlighted files and any
should “travel along” with the scene.
dependent files, such as bitmaps and XRefs, are
copied to the local folder, using the same folder One potential use for a custom dependency is as
hierarchy as that of the database. a way to perform simple project management.
For example, you could add a file called
Working Comment—Opens a dialog that containing
GameTitle-A.txt as a custom dependency to any
a common text buffer for the current session.
scene file associated with GameTitle-A. You could
When you check out a file, any comment you then instruct the provider client, such as Vault
enter in the Asset Tracking dialog is copied to Explorer, to display all files that are dependent on
the Working Comment dialog. You can edit this GameTitle-A.txt, which would give you a list of
text at any point during the session. When you files associated with that project.
check a file back in, all Working Comment text
Refresh—Reloads the asset listing from the local
appears in the Asset Tracking dialog; you can edit
scene and updates the window contents.
it as necessary without affecting the original text
before completing the check in. The checked-in
Paths menu
comments remain with that version of the file in
the Vault. The tools on this menu help you resolve
file-path issues such as missing files. They
Browse—Lets you browse the local directories for
include functionality also available in the
missing files such as bitmaps. Use the Browse Bitmap/Photometric Path Editor Utility (page
dialog to find the file, and then click Open. 3–123), but their integration into the Asset
View Image File—Opens a window showing the Tracking dialog helps speed the workflow of
highlighted image file. The file must be present managing scene assets.
in a local directory.
Highlight Editable Assets—Highlights all assets To revert to a previous path, choose it from the
whose paths can be affected by the remaining drop-down list.
commands on this menu. To change the file name, edit the File field or
For example, if your scene materials use bitmaps choose a name from the drop-down history
from a number of different folders, you could copy list. Note that this changes only the name of the
all the bitmaps to a common directory within your asset file as pointed to in the scene; it doesn’t
working folder, use Highlight Editable Assets to change the actual asset file name. Use this
highlight all the bitmap assets, and then use Set to update the scene if the asset file name has
Path (see following) to designate the common changed.
directory. • If multiple assets are highlighted, you can
Set Path—Opens a dialog for editing the scene’s change the path but not file names. The
record of the highlighted asset’s or assets’ path and, following dialog appears.
in the case of a single asset, the file name. Both
versions of the dialog include drop-down history
lists for reverting to a previous path or file name.
The primary function for this command is to
change the path pointed to by Autodesk VIZ for
existing assets whose locations have changed. The dialog shows the portion of the current
However, for output files such as rendered images path that the highlighted assets and lets you
and render elements, you can also use Set Path specify a new one, either by editing the Specify
to create and use new output directories. If you Path field contents or by clicking the ellipsis [...]
change an output path to one that doesn’t exist, button and browsing to a different path.
you’re prompted to confirm that you want to create For example, if two assets are highlighted,
the folder(s). if you confirm, the output paths are and one asset’s path is c:\max_files\maps1\
changed in all appropriate locations, such as the while the other’s is c:\max_files\maps2\, the
Render Scene dialog. Specify Path field will show c:\max_files\.
The version of the dialog that appears depends on Changing this changes the complete path for all
the number of highlighted assets: highlighted assets. Of course, they must all be
present there for the program to find them.
• If a single asset is highlighted, you can change
the path and the file name. The following To revert to a previous path, choose it from the
dialog appears. drop-down list.
To change only the portion of the path that
all highlighted assets have in common, use
Retarget Common Root (see following).
Retarget Common Root—Lets you change only the
part of the path that all highlighted assets have in
To change the path, edit the Path field or use the common. This command opens a version of the
ellipsis [...] button to browse for a new path. Specify Assets path dialog that shows the common
This changes the path only. path prefix for the highlighted assets and lets you
specify a new one, either by editing the Specify
New Common Path Prefix field contents or by present on a mapped drive use Universal Naming
clicking the ellipsis [...] button and browsing to Convention (UNC) format (page 3–743). When
a different path. Use Retarget Common Root off, each path starts with the mapped drive letter
for repathing multiple files, particularly those in (e.g., w:\).
different directories within the common root.
This switch is linked to the Convert file paths to
UNC switch on the Preferences dialog > Files
panel. Toggling either one toggles both.
Note: This switch affects only newly added paths.
Toggling it has no effect on existing paths. For
example, if you add an asset from a mapped drive
with the switch on, turning it off does not change
For example, if all maps were originally in the path to the mapped version.
various subdirectories within c:\maps\ and the
entire subdirectory structure was moved to Options menu
d:\resources\maps\, you could repath all files
Disable Asset Tracking—Turns off asset-tracking
simultaneously using Retarget Common Root.
functionality. Choosing this command logs you
To revert to a previous path, choose it from the out of the database and makes most asset-tracking
drop-down list. functions unavailable. To restore asset tracking,
turn off Disable Asset Tracking and then log back
If you change the common root for output files
in.
to a path that doesn’t exist, you’re prompted to
confirm that you want to create the folder(s). if Prompts—Opens the Prompts dialog (page 3–109),
you confirm, the output paths are changed in all which lets you toggle two different options for each
appropriate locations, such as the Render Scene of various actions in the Asset Tracking dialog:
dialog. actions and prompts.
Strip Path—Strips all path information from the Auto Login—Logs you in to the Vault, if necessary,
highlighted assets, leaving only the file names. whenever you cause a MAX scene file to be present
in memory; for example when you load or save
Stripped path information is saved in the Set Paths
a scene. You can bypass the Vault Log In dialog
dialog drop-down list. To restore stripped paths,
If you’ve turned on Options dialog > “Log in
highlight the assets, choose Paths menu > Set
using saved settings” or Vault Log In > “Use these
Paths, and then choose the desired path to restore
settings next session.”
from the drop-down list.
Display Excluded Files—Displays files that are set to
Resolve Path to UNC Location—Resolves highlighted
Excluded status. When off, these files aren’t shown
paths that point to mapped drives to Universal
in the dialog window. For information about
Naming Convention (UNC) format (page 3–743).
excluding files, see Filtering Files (page 3–108).
Configure User Paths—Opens the Configure User You can also set output files to Excluded status;
Paths dialog (page 3–529), which you can use to see following.
resolve locations for support files such as bitmaps.
Exclude Output Files—Sets output files such as
Convert file paths to UNC—When on, paths shown rendered images to Excluded status; you can
in the Asset Tracking dialog for any added assets
prevent the dialog from displaying such files by The Asset Tracking dialog window lists all assets in
turning off Display Excluded Files (see preceding). the current scene in a tree or table view, depending
on the current setting. Listed assets include
Tree View—Displays a simplified, hierarchical
the scene file, any images used by the scene in
listing of the assets in the current scene. You
materials, etc., XRefs, and photometric files. By
can expand and collapse hierarchy branches by
default, output files such as rendered images also
clicking the + and - icons to the left of the branch
appear in the window listing; you can turn off
names.
display of these if you wish.
Table View—Displays listing of the assets in the
Also shown are icons for each assets showing
current scene in tabular format along with the full
the type of asset (Autodesk VIZ scene file, map
path and for the local version of each asset. The
branch, etc.) and status, as appropriate. Most
branches are hierarchical, but cannot be expanded
status icons are documented in the Vault Explorer
or collapsed.
Help > Autodesk Vault Explorer Icon Reference
topic. For a reference to the most common icons,
Toolbar
see Asset Tracking Dialog Icons (page 3–109).
Refresh—Reloads the asset listing from the local
Note: No status icons appear if you don’t have any
scene and updates the window contents.
version-control provider installed.
Status Log—Opens a read-only window showing
In general, status errors can be resolved by being
all status messages received from the Vault during
careful to coordinate the local folder/file structure
the current session.
with that of the Vault, as described in the above
Tree View—Displays a simplified, hierarchical procedure.
listing of the assets in the current scene without
You can access most dialog commands by
path or status information. You can expand and
right-clicking an asset in the window; the
collapse hierarchy branches by clicking the + and -
commands applicable to the asset are available in
icons to the left of the branch names.
the context menu. These commands are the same
Table View—Displays listing of the assets in the as those documented above.
current scene in tabular format along with the
full path and status for the local version of each Filtering Files
asset. The branches are hierarchical, but cannot be
You can configure individual asset-tracking-
expanded or collapsed.
system providers via the provider configuration
file, ATSProviders.xml, which resides in
[window]
3dsmax8\plugcfg. Autodesk VIZ reads this file,
but doesn’t write to it.
The primary configuration function is filtering.
Filters define criteria the software uses to
determine whether a file should be excluded
Left: Asset Tracking dialog window in Tree View
from a provider’s control. If a file is determined
Rightt: Asset Tracking dialog window in Table View
to be excluded from a provider, the file is never
sent to the provider for status check or any other
action. This feature is useful when using multiple
Prompts Dialog 109
providers within the same pipeline or if your

studio still uses file servers for certain file types.
When a file is excluded, its icon is grayed out and
its status message indicates that it is excluded. You
can also toggle the display of excluded files in the
dialog window with the Display Excluded Files
option.
A example filter file, 3dsmax8\plugcfg\
ATSProviders_Example.xml is included with the
software. The file includes comments, so you can
load it into a text editor to see how it works and
edit it. If you’re using Autodesk Vault as your
provider, you can rename the provider field (in the
<Provider> section, near the beginning of the file) Procedure
to Autodesk Vault, as follows: To set prompts for asset tracking:
Change: 1. From the Asset Tracking dialog > Options
<Name>Sample Provider Name Example</Name>

menu, choose Prompts.
2. Right-click the message to set prompts for.
to:
The right-click menu shows check marks next
<Name>Autodesk Vault</Name>
to the active settings. For each message, you
One of the effects of the example file is to exclude have two options:
FX files, as shown in the following illustration: • Yes/No or Ok/Cancel
• Prompt/No Prompt
3. Change the options to suit your preferences.
For example, if you know that you always want
to keep files checked out that you add to the
vault, set the option “When adding files, keep
Prompts Dialog files checked out?” to Yes and No Prompt.
File menu > Asset Tracking > Asset Tracking dialog >
The changed settings are saved with the
Options menu > Prompts program.
The Prompts dialog lets you specify what happens

when you perform a number of different functions Asset Tracking Dialog Icons
via the Asset Tracking dialog (page 3–102). For
The Asset Tracking dialog (page 3–102) uses a
each message, you can choose an action and toggle
number of icons to indicate the status of assets
the prompt using a right-click menu. If you turn
listed in the dialog window. The following table
off the prompt, the option you set on the top part
lists these icons and describes their functions:
of the menu takes place automatically.
Icon Meaning
If no icon is displayed, the file is under version
Archive
control, but you do not have a local copy of the
File menu > Archive
file on your computer.
File is under version control and available to be
checked out. The version in your working folder
Archive creates a compressed archive file or a text
is the same as in the provider. Also referred to file listing the scene bitmaps and their path names.
as the Latest Version.
Autodesk VIZ automatically finds the files
File is under version control and available to be
checked out, but the local version is newer than referenced in the scene and creates the archive file
the latest version. This typically means that in the executables folder. During the archiving
your local file was changed without checking process, a log window is displayed.
it out.
File is under version control and available to be Compressed archive files are created using an
checked out, but the local copy is out of date. external program. You specify the name and
location of the archive program (page 3–548)
File is checked out to you and the local version you want to use in the Files tab of the Preferences
is the latest.
dialog.
Procedures
To set up an external archive program:
1. Choose Customize > Preferences.
File is checked out to you and the local copy
is newer than the latest version. This typically 2. Click the Files tab to display the Files panel.
means that you made changes to the file since
it was checked out but have not checked it 3. In the Archive System group, enter the full
back in.
path and executable file name, and any
File is checked out by someone else, and the command-line option you want for your
local copy is the same as on the provider. Also
referred to as the Latest Version.
external archive program in the Program field.
File is checked out to someone else, but the To archive a file:
local copy is newer than the latest version.
1. Choose File > Archive > Archive.
File is checked out to someone else, but the 2. Enter a name for the archive in the File Name
local copy is older than the latest version.
field.
Status for the file could not be obtained. This Include the appropriate file extension (for
typically means you are not logged into the example .zip).
provider.
3. Choose a file type: Autodesk VIZ Archive or
The file is not under version control.
List Of Files.
• To create an archive file, choose
You are not logged in to the provider.
Autodesk VIZ Archive in the Save As Type
list. The archive file contains the scene plus
You are logged in to the provider. all bitmaps used for the scene.
Resource Collector 111
• To create a text file, choose List Of Files Interface

(*.txt) in the Save As Type list. The resulting
file is an ASCII list of scene files.
Resource Collector
File menu > Archive > Resource Collector
This command opens the Resource Collector

utility (page 3–127), which gathers the resource
files used by a scene (bitmaps, photometric
distribution files (IES), and optionally, the scene The Summary Info dialog includes the following
itself) into a single directory. This utility is useful information:
for organizing scene files before archiving.
Scene Totals—Number of objects in your scene
You can also access the Resource Collector utility listed by type.
by choosing it from the Utilities panel > Utilities
Mesh Totals—Total number of vertices and faces
rollout > More button > Utilities dialog.
in the scene.
Memory Usage—Physical and virtual memory
Map/Photometric Path Editor used and available.
File menu > Archive > Map/Photometric Path Editor Rendering—Time spent rendering the last frame
and animation.
This command loads the Map/Photometric Path
Description—Lets you enter notes about the scene.
Editor utility (page 3–123), which lets you change
Information that you add to the Comments field
or remove the paths of bitmaps and photometric
on the File Properties dialog (page 3–112) will
distribution files (IES) used in the scene. It also lets
appear in the Description field and vice-versa.
you see which objects use a resource in question.
This utility is useful for organizing scene files Summary Info—Lists materials in the scene. The
before archiving. information is sorted by category and includes
object name, assigned material name, type of
You can also access the Map/Photometric Path
material, object vertex and face counts, and so
Editor utility by choosing it from the Utilities
on. Materials are listed at the bottom of the list.
panel > Utilities rollout.
Bitmaps used by the materials are listed with the
materials. Environmental and atmospheric maps
are listed separately. The Other Maps category lists
Summary Info all other maps used in the scene, such as Displace
File menu > Summary Info maps, and any maps assigned by third-party
plug-ins.
Summary Info displays statistics about the current The buttons at the bottom of the Summary Info
scene. dialog have the following functions:
Save to File—Saves the contents of the dialog and Interface

descriptive text to a .txt (text) file.
Plug-In Info—Displays a subdialog with
information about the plug-ins (page 3–716) used
in the scene. By default, the subdialog shows the
name and a brief description of each plug-in.
Show Details—Shows information about all of the
classes supported by each plug-in.
Show Used Only—Restricts the view to only those
plug-ins that have been used in the scene.
File Properties
File menu > File Properties
File Properties allows you to enter information

about a scene that can later be read by Windows
NT 4.0 or later and Windows 98 or later, using a
program such as Windows Explorer to view the
properties of the scene file.
Summary panel
This information can also be used to locate scene
files with the File Finder utility (page 3–126). Summary provides fields for entering information
related to the saved scene. Many commonly used
The Properties dialog comprises three tabs:
fields are available from the Summary tab. If there
• The Summary panel displays predefined fields is a field you would like that is not represented in
that are commonly used. the Summary tab you can use the Custom tab to
• The Contents panel displays scene information define new fields for information.
available after the scene had been saved. Title—Enter the title of your scene or animation
• The Custom panel enables you to create new here.
fields that can also be used by the File Finder
Subject—Enter the subject of your scene or
utility.
animation here.
Author—Enter the author of your scene or
animation here.
Manager—Enter the manager of your scene or
animation here.
Company—Enter the name of your company here.
Category—Enter the category of your scene or

animation here.
Print Setup 113
Keywords—Enter keywords that identify your Delete—Removes a selected Custom property

scene here. from the Properties list.
Comments—Enter personal comments here. Properties—Displays all Custom properties
Information that you add to the Description field entered into the scene.
on the Summary Info dialog (page 3–111) will
appear in the Comments field and vice-versa.
Print Setup
Contents panel
File menu > Print Setup
When a scene is saved, a summary list of
everything contained in the scene is generated and Print Setup allows you to change the default print
displayed in the Contents tab. If a scene has not settings.
been saved, the Contents tab remains empty.
Note: There is currently a bug in Windows NT Procedure
4.0 that causes the information in the Contents To change page settings for a document:
tab to look garbled when you view a MAX
1. Choose File > Print Setup.
file in Windows Explorer. The problem has
been corrected in Windows 98. Although the 2. Click the Paper Size tab and then click the
information looks garbled, it is internally correct paper size from the list.
and the File Finder utility can still read it. 3. Click the Paper Source tab and then click the
paper source from the list.
Custom panel
4. Select the page Orientation by clicking the
The Custom panel lets you create custom fields. Portrait or Landscape button.
Custom is useful when there is more information
5. Enter your Margin boundaries in inches for the
that needs to be entered into the properties of
Left, Right, Top or Bottom of the page.
a scene but there is no field or no room in the
Summary panel. 6. If you need to change the default setting for
selected printer, click the Printer button and
Name—Enter the name of a custom field. You can
change the Page Setup and or the Advanced
manually enter anything you want into the Name settings.
field. A drop-down list provides commonly used
field types.
Type—Specifies the type of information to be
entered into the Value field: choose from Text,
Date, Number, and Yes or No. This dictates the
type of information to be entered into the Value
field.
Value—Enter the data here.
Add—Adds the Custom properties entered into the

Name, Type, and Value fields to the Properties list.
Interface Bottom—Specifies the distance from the bottom

edge of the page to the bottom edge of the scene.
Print Viewport
File menu > Print Viewport
Print Viewport allows you to print the active scene.
Procedure
To print a document:
1. Choose File > Print Viewport.
2. Choose a printer assigned to your system from
the Name box.
If you need to change the document properties
for the selected printer, click the Properties
button and change the Page Setup and the
Advanced tab settings.
Paper group 3. Set the Print range to print All pages.
Size—To select the paper size for a document, 4. Select the number of copies you want to print.
choose the paper size from the size menu.
Source—To select the paper source, choose the
paper source from the source table.
View Image File
File menu > View Image File
Orientation group
Portrait—Positions the scene in a vertical position, Select and view still images, numbered image
and displays an image at the top of the dialog. sequences, images in an .ifl file, or animation files
using options in the View File dialog. Selected still
Landscape—Positions the scene in a horizontal images and numbered image sequences appear in
position, and displays an image at the top of the the rendered frame window (page 2–1318).
dialog.
If you select an .ifl file in the file dialog, the Info
Margins (inches) group button displays the ASCII .ifl file in Windows
Notepad.
Left—Specifies the distance from the left edge of
the page to the left edge of the scene. You can zoom in and out and pan the image, even
while a scene is rendering. If you have a Microsoft
Right—Specifies the distance from the right edge
IntelliMouse, you can use its third-button/wheel
of the page to the right edge of the scene.
to zoom and pan. See the following procedures.
Top—Specifies the distance from the top edge of
the page to the top edge of the scene.
View Image File 115
If you select an animation file (AVI (page 3–252), Interface

FLC (page 3–255), or QuickTime (page 3–263)),
the software starts the Windows Media Player so
that you can play it. The Media Player has its own
Help system.
Procedures
To view a file:
1. Choose File > View Image File.
2. Choose a file type from the Files of Type list.
3. Select a file to view.
Note: The View File dialog uses the last location
where a file was chosen, rather than the default
Images path defined on the Configure Paths
dialog.
To zoom in the rendered frame window:

• Press CTRL and click. History—Whenever an image is selected, the path
used is added to the top of the history list as the
To zoom out in the rendered frame window: most recently used path.
• Press CTRL and right-click. File selections from other areas of the interface,
such as Views > Viewport Background, are stored
To pan the rendered frame window: here also. The history information is saved in the
• Press SHIFT and drag. 3dsviz.ini file.
Look In—Browses drives and directories.
To use a Microsoft Intellimouse to zoom and pan:
1. Roll the wheel to zoom in or out. File Name—Displays the name of the selected file.
2. To pan, while zoomed in, press the wheel and Files of type—Selects the type of files to list in the
drag. (You can use any third-button device to directory window.
pan the image.) Devices—Lets you choose the hardware output
Note: You must select the Pan/Zoom option device, for example, a digital video recorder. To
(page 3–548) in the Preferences dialog > use the output device, the device, along with its
Viewports page > Mouse Control group in driver, and its plug-in must all be installed on your
order to use the third button for panning and system.
zooming.
Setup—This is unavailable in View Image File.
This option is available only in file dialogs like

the Render Output File dialog or the Viewport
Background dialog. Displays a dialog to specify
image attributes for saved files or, in the Select
Background Image dialog, the arguments for Note: You can also click the Close button (the X)
creating an .ifl file. in the upper-right corner of the Autodesk VIZ
window to exit.
Info—Displays image information.
View—View the selected image or animation.
Sequence—This is unavailable in View Image File.

Missing External Files Dialog
This option is available in the Views > Viewport This dialog appears when you attempt to open
Background > Files > Select Background Image or render a scene with bitmaps (page 3–660) or
dialog (page 1–40). It is used in conjunction with photometric files (IES (page 2–958), CIBSE (page
Setup to create .ifl files. 3–663), LTLI (page 3–693)) whose path is no
longer current. This can happen if the bitmaps
Preview—Toggle the image preview display.
have been moved or deleted, or if the scene has
Preview Window—Displays the selected image. been placed on a system with a different drive
mapping than the system on which it was created.
Gamma group
Use image’s own gamma—Use image gamma. See also
Use system default gamma—Use system gamma. External Path Configuration (page 3–532)
Override—Specify gamma for the image. Bitmap / Photometric Path Editor Dialog (page
3–132)
Status group
Interface
Displays file statistics and the file’s full directory
path. Two slightly different versions of the dialog exist:
One appears when you load a scene that references
missing files, and the other appears when you
Exit attempt to render such a scene.
File menu > Exit
Exit closes Autodesk VIZ. If you have unsaved

work, you’ll be asked if you want to save it.
Procedure
To exit the program:
1. Choose File > Exit.
2. Click the Yes, No, or Cancel button.
If you click Yes the scene is saved, if you click
No the scene is not saved, if you click Cancel
the Exit operation is canceled.
Asset Browser Utility 117
with missing files. When on, the program does not

display this dialog if you render the scene without
resolving the missing files.
Don’t Display This Message—Appears only at render
time. When on, the software does not display the
dialog the next time external files cannot be found.
File-Handling Utilities
Asset Browser Utility

Utilities panel > Utilities rollout > Asset Browser button
The Asset Browser provides access from your

desktop to design content on the World Wide
Top: This dialog appears at load time.
Web. From within the Browser you can browse the
Bottom: This dialog appears at render time.
Internet for texture samples and product models.
List of external files—Lists the bitmaps or This includes bitmap textures (BMP, JPG, GIF, TIF,
photometric files that cannot be located, along and TGA), or geometry files (MAX, DWG, and
with their path names. so on). You can drag these samples and models
into your scene for immediate visualization and
Continue—Opens or renders the file anyway,
presentation. You can use the CTRL key to drag
without loading the missing bitmaps or
geometry into predefined locations. You can
photometric files.
also use the Asset Browser to browse thumbnail
If you continue rendering the scene, the bitmaps displays of bitmap textures and geometry files on
do not appear, or the lights assigned missing your hard disk or shared network drives. Then you
photometric files will render using the default can either view them or drag them into your scene
isotropic distribution. or into valid map buttons or slots.
Cancel—Cancels the render. This button appears Note: The thumbnail display of a geometry file is a
only at render time. bitmap representation of a view of the geometry.
Since the thumbnail display is not a vector-based
Browse—Displays a Configure External File Paths
representation, you can’t rotate it or perform
dialog, to let you add the missing files’ paths to zooms on it.
the search sequence. This dialog has the same
controls as the Configure Paths dialog > Configure You can drag most graphic images that are
External Files Paths panel (page 3–532) . embedded in a Web page into your scene. The
exception is images or regions of a Web page that
Don’t Display This Message at Render
are tagged as hyperlinks or other HTML controls
Time—Appears only when loading a scene
(such as when a bitmap is tagged as a button with you drag a bitmap onto an object, the program
hypertext links). creates a new standard material with the bitmap as
the diffuse map and assigns the material to that
Important: Downloaded content might be subject
object.
to use restrictions or license of site owner. User is
responsible for obtaining all content license rights. Scene Drag and Drop: You can drag the
thumbnails representing .max scene files directly
Volo View Express over an active viewport to merge the scene with
the current scene. When you drag the thumbnail
Volo View Express is a plug-in that allows you to
over the active viewport and release the mouse, the
access geometry design data on local and shared
objects in the file appear attached to the mouse.
disks and on the World Wide Web.
Place them where you want them, and then click
Volo View Express is installed on your system the mouse. Choose from the menu whether you
when you install the program. Volo View Express want to open the file, merge the file to the current
requires Microsoft Internet Explorer. Other scene, or XRef the file. To cancel, you can select
browsers are not supported when you perform from the menu, or right-click. If you hold down
an operation with the Asset Browser that uses the the CTRL key, and drag the thumbnail over the
Volo View Express plug-in. active viewport, when you release the mouse
button the objects in the dragged file will snap into
Drag and Drop their old location in their original file.
You can assign files represented by the thumbnail Tip: When you drop scene files into your current
images by dragging the thumbnails over various scene, you can use AutoGrid (page 2–623) to
parts of the Asset Browser or the Autodesk VIZ position the geometry file on an object.
user interface. There are three basic methods of
using drag in the Asset Browser : Procedures
Local Drag and Drop: You can drag thumbnails To drag scene files from the World Wide Web:
to the directory tree, and you can copy or move 1. In the Address bar, enter the URL of the scene
files from one directory to another. As the files on the World Wide Web.
default, when you drag to a folder within the same
2. Select the thumbnail of the scene file with your
partition or device, you perform a move. If you
mouse and drag it over the active viewport.
drag beyond the current partition or device (to
another drive, for example), you perform a copy. The Internet Download dialog (page 3–130)
If you hold down the CTRL key, you perform a appears.
copy regardless of the destination. If you hold 3. If you want objects placed in the viewport
down the SHIFT key, you perform a move. You automatically, then in the Options group, turn
can manipulate bitmap, Autodesk VIZ scene, and off Place Objects When Download Completes.
DWG thumbnails in this way.
4. If you skipped step 3 (that is, if Place Objects
Bitmap Drag and Drop: You can drag the When Download Completes is still on), then
thumbnails that represent bitmap files to any when you release the mouse, the objects in
bitmap or map slot in the interface or onto any the file appear attached to the mouse. Place
object in a viewport. You can also drag the them where you want them, and then click
thumbnails into the viewport background. When the mouse. Choose from the menu whether
you want to open the file, merge the file to the

current scene, or XRef the file. To cancel, you
can select from the menu, or right-click. If you
hold down the CTRL key when you drag the
thumbnail, the objects in the file are placed at
the world space origin of the current scene.
To drag thumbnails to the directory tree:

1. In the Asset Browser directory tree, make
sure the place you want to copy or move the
thumbnail to is visible. A viewport background—Puts the bitmap into
2. Select the thumbnail with your mouse and drag the viewport as a background.
it to the directory tree destination. An environment map—Includes the bitmap
3. As a default, if you drag to a folder within the when you render the viewport.
same partition or device, a move is performed. 2. A new standard material is created. The bitmap
If you drag beyond the current partition or is assigned to its diffuse component, and the
device (to another drive, for example), a new material is applied to that object.
copy is performed. If you hold the CTRL key
down, a copy is performed, regardless of the To drag scene files from a local or shared disk:
destination. If you hold the SHIFT key down, 1. From the Asset Browser’s menu bar, choose
a move is performed. Filter and then a geometry filter such as All
Geometry, Importable Files, or Autodesk VIZ
To drag bitmaps onto a map slot in the Material
Editor:
Files.
2. Select the thumbnail of the geometry file with
1. Open the Material Editor and click the Maps
rollout. your mouse and drag it over a viewport.
3. When you drag the thumbnail over the active
2. Open the Asset Browser and select the
thumbnail of a bitmap with your mouse. viewport and release the mouse, the merged
objects appear attached to the mouse. Place
3. Drag the thumbnail to the map button of your them where you want them, and then click
choice on the Material Editor Maps rollout. the mouse. Choose from the menu whether
This assigns the bitmap as a map type for use you want to open the file, merge the file to the
in the Material Editor. current scene, or XRef the file. To cancel, you
can select from the menu, or right-click. If you
To drag a bitmap onto an object in a viewport: hold down the CTRL key when you drag the
1. Select a thumbnail of the bitmap with your thumbnail, the objects in the file are placed at
mouse and drag it onto an object in a viewport. the world space origin of the current scene.
Note: If you miss the object, the bitmap becomes
Interface
the viewport background image.
When you first start the Asset Browser, a window
The Bitmap Viewport Drop dialog is displayed:
appears displaying the home page that is installed
locally on your computer system.
Note: You can’t change the home page for the Asset Filter menu
Browser.
Filters the display of thumbnails according to the
Each subsequent time that you start the Asset category or file type you select.
Browser, it displays what was displayed last in the
All images—Displays thumbnails of all supported
previous Asset Browser session.
bitmap files, such as BMP, JPG, GIF, TIF, and TGA.
The Asset Browser window contains:
All geometry—Displays thumbnails of all
• A menu bar (page 3–120). supported geometry files, such as DWG and MAX.
• A toolbar (page 3–122). All in cache—Displays thumbnails of all images
• An address bar. stored in your cache directory. When turned on,
the left pane displaying the directory tree goes
• A pane on the left displaying your computer
away, and the thumbnails you see might be in
system’s directory hierarchy.
various directories. Because the thumbnails point
• A pane on the right displaying a Web page, to the correct directories, you can still use them to
thumbnails, or an Explorer view of file names. access the files and display or drag them to areas in
At the bottom of the window, there is also a tabbed the Autodesk VIZ user interface.
favorites bar (page 3–123) (by default, it first Important: If a file has been subsequently renamed,
contains a Startup button) and a status bar. deleted, or moved from the directory it was in when
its thumbnail was first created, then the thumbnail
Asset Browser menu bar represents only the thumbnail bitmap itself. If you
Contains the menus for the Asset Browser. assign that image to a map slot in the software, you’ll be
assigning the thumbnail bitmap rather than the original
File menu image.
Contains commands for managing files. All files (*.*)—Displays thumbnails for all files.
Preferences—Displays the Preferences dialog (page See the following topics for information on the file
3–130), with which you can manage the cache types listed on the Filter menu:
directory and control drag-and-drop operations.
AutoCAD DWG Files (page 3–670)
Properties—Displays information about the file of
the selected thumbnail.
IGES Files (page 3–687)
Show Image—Displays the currently selected

AVI Animation File (page 3–252)
bitmap thumbnail in a rendered frame window BMP Image File (page 3–253)
(page 2–1318). You can also double-click a
Kodak Cineon (page 3–253)
thumbnail. This does not work for geometry
thumbnails. CWS (Combustion Workspace) Files (page 3–254)
Print—Prints the page displayed in the Web Autodesk FLIC Animation File (page 3–255)
pane. Print is available only when a Web page is
GIF Image File (page 3–255)
displayed.
Radiance Image File (HDRI) (page 3–256)
Exit—Closes the Asset Browser window.
IFL Image File (page 3–259)
JPEG File (page 3–263) • The right pane, which can display files as
thumbnails (a Thumbnail pane), or Web pages
PNG Image File (page 3–271)
(a Web pane).
Adobe PSD File Reader (page 3–271) • The Favorites and status bars located at the
MOV QuickTime File (page 3–263) bottom of the Asset Browser window.
MPEG Files (page 3–264) • Any available manufacturer data in the Product
Information dialog that appears over the right
SGI’s Image File Format (page 3–276) pane.
RLA Image File (page 3–273) Directory Tree—Turns the directory tree in the
RPF Image File (page 3–274) left pane on or off. The directory tree displays
the available directories on your system. You can
Targa Image File (page 3–276) navigate and select the directories where you want
TIF Image File (page 3–277) to view images. When you select and enter a
directory containing valid bitmaps, the Browser
YUV Image File (page 3–278) displays their thumbnails in the Thumbnail pane
to the right. Right-clicking in the directory tree
Thumbnails menu
pane displays a menu allowing you to change
Sorts and sets the size of the displayed thumbnails. directories, delete directories, and add a directory
to your Favorites list.
Create Thumbnails—Creates thumbnails for bitmap
and geometry files. Tip: To refresh the contents of the directory tree,
press SHIFT+F5.
Sort by Name—Sorts by file names.
Favorites Bar—Turns the Favorites bar on or off.
Sort by Type—Sorts by file extensions.
The Favorites bar is located at the bottom of the
Sort by Size—Sorts by file size. Asset Browser window.
Sort by Date—Sorts by file creation date. Status Bar—Turns the status bar on or off. The
status bar is located at the bottom of the Asset
Large (200X200)—Sets the size to large (200 by 200
Browser window.
pixels).
Thumbnail Pane—Displays valid bitmaps and
Medium (100X100)—Sets the size to medium (100
geometry files of a selected directory as thumbnails
by 100 pixels).
in the right pane.
Small (50X50)—Sets the size to small (50 by 50
Thumbnail bitmaps for MAXScript files (.ms,
pixels).
.mcr, and .mse), dropScript files (.ds), and zipped
script files (.mzp) display in the Thumbnail pane.
Display menu
By right-clicking the thumbnail, you can view
Controls the display of: the file, look at its properties, run the script, or
• The left pane, where the directory tree displays open it in the Web Pane. By double-clicking the
your computer system’s folders. thumbnails for .ms, .mcr, and .ds files, you can
open them in the MAXScript editor window.
Double-clicking .mzp files will open them in the
associated zip utility.
Explorer Pane—Displays valid bitmaps and Forward—For a Web pane, displays a Web page
geometry files of a selected directory as file name you viewed before clicking the Back button.
icons in the right pane. This is similar to how
Back—Returns to the last Web page viewed in the
Windows displays file name icons in the Explorer.
Web pane.
Web Pane—If there’s a file named vizindex.htm in
Home—Returns to the local copy of the home page
the selected directory, the program displays it as a
that is installed on your computer system. This
Web page in the right pane. You can use the .htm
is the page that displays when you first start the
file to display selected bitmaps as a Web page. Also
Asset Browser.
if you enter a URL in the address bar, the program
displays the page in this pane. Stop—Stops loading a Web page. Use this button
when a page you’re trying to view takes too long
Manufacturer Data—Displays a manufacturer’s
to load.
product information in a dialog over the right
pane. Manufacturer Data is enabled when you’re
Toolbar
in a directory containing a manufacturer’s data
file (MFR file). If the manufacturer has included The buttons on the toolbar provide some of the
a URL in the MFR file, you can get to that site by same functions as the menu items on the menu bar.
clicking the logo button at the top of the Product
Information dialog. The site’s page displays in the Back to previous page—Returns to the last
Web pane. The manufacturer might also provide Web page viewed in the Web pane.
text information in the pane below the logo button
of the Product Information dialog. Forward to next page—Displays a Web page
you viewed before clicking Back to previous page.
Favorites menu
Adds and deletes Web sites and path names to the Stop—Stops loading a Web page. Use this
Favorites menu and the Favorites bar. button when a page you’re trying to view takes too
long to load.
Add to Favorites—Displays the Favorite Location
dialog (page 3–131).
Refresh content—For a Thumbnail pane,
Delete All Favorites—Removes all Web site and rereads the directory and redraws the thumbnails.
path name shortcuts from the Favorites menu and For a Web pane, rereads the URL and redisplays
the Favorites bar. the Web page.
Browse menu
Homepage—Returns to local copy of the
Allows you to refresh thumbnails and Web pages, Browser home page that is installed on your
to move forward and backward between recently computer system. This is the page that displays
viewed Web pages, to return to your home page, when you first start the Asset Browser.
and to stop loading a Web page.
Refresh—For a Thumbnail pane, rereads the Add to Favorites Bar—Displays the Favorite
directory and redraws the thumbnails. For a Web Location dialog that allows you to add Web sites
pane, rereads the URL and redisplays the Web and path names to the Favorites menu and the
page. Favorites bar. When you want to open that page
Bitmap/Photometric Path Editor Utility 123
or view the files from a path name, you can click used in the scene. It also lets you see which objects
the appropriate shortcut button from the Favorites use a resource in question.
bar, or click the appropriate menu item from the
By default, Autodesk VIZ stores a path with the
Favorites menu
name of the files it references. This can be a
Address—Displays the current path name or URL. problem when you share scenes among different
Clicking the history arrow at the right end of the users. Another user might have the same scene
address bar displays a list of recently viewed sites. and resources, in the same directory structure, but
You can select one of these to return to that site. on a different disk drive; this will cause the scene
to "lose" the resources.
Favorites Bar
Removing paths from resource references
The Favorites bar is at the bottom of the Asset eliminates this problem. When paths are not saved
Browser window. It displays tabbed buttons for the with the resource file, they are searched for in these
startup page and for any shortcuts to directories directories:
and Web pages that you added to your favorites
1. The directory of the current scene.
list. Right-clicking over a favorites tab that you’ve
added displays a menu that you can use to modify 2. The paths listed in the External Files panel
(page 3–131) or delete the favorites. (page 3–532), starting at the top of the list.
Startup—Returns to the directory or Web page Removing paths from bitmap and photometric
where the Asset Browser started in the current references can be useful for network rendering
session. (page 2–1465) as well.
Status Bar See also

The status bar is under the Favorites bar at the Asset Browser Utility (page 3–117)
bottom of the Asset Browser window. The bar Configure Paths (page 3–529)
is divided into three sections. The first section
displays a progress meter when the program loads Resource Collector Utility (page 3–127)
thumbnails. The second section displays the
current filter selection (such as "All in cache"). Interface
The third section displays messages, file names,
or Web page shortcut labels when you move your
cursor over such items.
Bitmap/Photometric Path Editor

Utility
Utilities panel > Utilities rollout > More button > Utilities
dialog > Bitmap/Photometric Path Editor
Edit Resources—Click to display the
The Bitmap/Photometric Path Editor lets you Bitmap/Photometric Path Editor dialog
change or remove the paths of bitmaps (page (page 3–132). Most of this utility’s functionality is
3–660) and photometric distribution files (IES) provided by this dialog.
Include Materials Editor—When on, the Bitmap Component Description

Path Editor dialog shows materials in the Material Library At the top level, you have a Library.
Editor, as well as those assigned to objects in the The library is a container for all other
scene. Default=on. components found in the Content
Browser.
Include Material Library—When on, the Bitmap Catalog Inside a library, you can have any number
Path Editor dialog shows materials in the current of Catalogs. By default Autodesk VIZ
material library, as well as those assigned to objects includes three catalogs; VIZ 2006 Materials
Catalog, Light & Cameras and Studio.
in the scene. Default=off. Catalogs can contain categories, packages,
palettes or tools.
Close—Click to close this utility.
Category A Category is used to help you further
organize the content that you might use in
your scene. A category can contain other
categories (sub-categories), packages,
palettes or tools.
Content Browser Package A Package is a group of tools stored

together for distribution. For example,
a package might contain a set of
productivity tools and utilities.
Content Browser Utility Palette A Palette is a collection of tools. For

example, a palette might contain tools for
specific materials that will be used in a
Main Toolbar > Start Content Browser button scene. Storing a palette in a catalog makes
the palette available to multiple users.
The Content Browser lets you access stored Tool A Tool is a general term used for anything
tools and content and it runs independently of you might find in the Content Browser.
Autodesk VIZ. The Content Browser provides Technically, a tool can be a material,
studio, light, camera or model that is
quick access to tools such as catalogs, tool palettes, stored in a catalog, category, package or
and design content in the form of materials, palette.
studios, luminaires, and cameras. The Content
Browser is the central location for project-based Autodesk i-drop Web Technology
tools and content, ensuring that every member of
your design team has access to the most up-to-date The Content Browser enhances data exchange
tools. with its use of Autodesk i-drop® Web technology.
This functionality allows third parties to embed
Note: The Content Browser is populated by the materials and geometry in their web sites so that
entire collection of materials, studios, luminaires, you can drag content off the web pages you see
and cameras while a small subset of this content in your web browser and drop them directly into
can be found in the assorted Tool Palette Sets your scene.
(page 3–403).
For example, there are product manufacturers
The Content Browser lists components in a (furnishings, lighting, and other architectural
hierarchy for storing and organizing data. The products) that provide 3D models of their
following table explains the hierarchy from top to products on their web sites in i-drop-enabled
bottom. form, and you are free to drag these content objects
from their web sites to your Autodesk application.
When you install Autodesk VIZ, you also receive
Content Browser Utility 125
a free i-drop ActiveX control that facilitates the

display of i-drop data in Internet Explorer. 2. Click the Add or Create a Catalog
button from the Administrator’s Catalog
You and your team members can drag standard,
Library display.
project-based, and manufacturer content via your
own company intranet or over the web. This opens the Add Catalog dialog.
For more information on i-drop and for links 3. Turn on Create a New Catalog and enter the
to i-drop-enabled web sites, refer to the i-drop name of the catalog you want to create.
Indicator (page 3–134). Your new catalog is added.
4. Double-click to open your new catalog.
Procedures
5. Click Tool Palettes - All Palettes in
Assign the Content Browser a Keyboard Shortcut:
Autodesk VIZ and open the Scene - In Use
1. Choose Customize > Customize User Interface palette.
to open the Customize User Interface dialog
This palette contains all the materials that are
(page 3–511).
currently used in your scene.
2. Make sure that you’re on the Keyboard panel,
6. Click on the tab where the Scene - In Use label
that Group is set to Main UI and that the
appears and drag the palette over to the Content
Category is set to All Commands.
Browser and release the mouse button.
3. In the Hotkey field, enter a keyboard shortcut
The materials from the Scene - In Use palette
that you’d like to use to start the content
are added to the Content Browser.
browser.
7. In the Content Browser, right-click Scene - In
If you’re familiar with Architectural Desktop,
Use palette and choose Rename.
the CTRL+4 combination is used to start the
content browser. The Rename Palette dialog is displayed.
Note: If you enter a hotkey that is already 8. Enter a new name for your custom palette and
assigned to a command, the command name click OK.
appears in the Assigned To: field. You will see Name the palette such that it is associated with
<Not Assigned> if the hotkey you enter is not the project where the materials were used.
used by another command. 9. Double-click the new palette to see a listing of
4. Once you’ve found a hotkey that is not assigned, all the materials.
scroll down the Action list and highlight Start
Content Browser. See also
5. Click the Assign button and you’ll see your Content Browser
hotkey value appear in the Shortcut list next to
the Action.
Add Scene Materials to a Library in the Content

Browser:
1. Open the Content Browser.

Interface
MAX File Finder Utility
dialog >MAX File Finder
Run maxfind.exe in the Autodesk VIZ root directory.
The MAX File Finder utility lets you search for

MAX files containing specific properties, for
example:
• Search the hard drive for all MAX files
containing the "Pink Carpet" material.
• Search the c:\Program Files\Autodesk VIZ 2006
directory and below for all MAX files using the
raymtl.dlt plug-in.
The utility comes in two formats: a standard
utility, and a standalone executable. Both work
identically. File menu
File Finder demonstrates how to read a MAX file’s Reset—Clears the list box of any files previously
properties from an external application. These found.
properties include predetermined data such as
object and plug-in names, plus information you Exit—Exits the application
provide via the File menu > Properties dialog. You
can also view this data from outside the software Help menu
with Windows Explorer or an equivalent program About—Displays something fun to play with while
by viewing a file’s properties. Finder is searching for files. The search continues
Tip: You can combine this tool with the powers in the background while this dialog is active.
of the Properties dialogs. If you have a team of
animators, you can have the individual animators Program window
use the File menu > Properties dialog to create Search Text—Specifies the text to search for. If
Categories, Keywords and Comments that you can you leave the field empty, all files that contain the
search for using the File Finder. They can also use specified property will be found.
the Contents and Custom Tabs as well. All are
File Spec—Specifies which file types to search
searchable using the Finder.
through. The predefined file type is *.max. You
You can also create similar structures at the Object can enter a different file type, such as *.dwg. To
level. The Object Properties dialog (page 1–107) search through all files, use *.*.
has a User Defined tab to enter any properties you
The currently selected item in this list is restored
like, and use that to organize your projects.
the next time you run Finder.
Property—Specifies the property you want to
search for. Use All to search for any property.
Resource Collector Utility 127
Start—Activates the search. During a search, the Interface

button title switches to Cancel. Click Cancel to
abort the search.
Browse—Specifies the directory for the search,
using the standard Windows Browse for Folder
dialog.
Include Subfolders—When on, Finder searches the
current directory and all subdirectories. When off,
only the current directory is searched.
File List—Lists all files that were found and match
the current search criteria.
Double-click a found file in this list to display
the property viewer for the file. The information
presented in this dialog is the same that is displayed
with File menu > Properties inside the software.
Use the << and >> buttons to step to the previous
or the next file in the found list.
While in the property viewer, the search continues
in the background.
Output Path—Displays the current output path.
This can be changed using the Browse button.
Resource Collector Utility Browse—Click to display a Windows file dialog
that lets you choose the output path.
dialog > Resource Collector
Resource Options group
The Resource Collector gathers the resource Collect Bitmaps/Photometric Files—When on, the
files used by a scene (bitmaps (page 3–660), Resource Collector places the scene’s bitmaps,
photometric distribution files (IES), and and photometric files, in the output directory.
optionally, the scene itself into a single directory. Default=on.
Warning: The Resource Collector does not collect maps Include MAX File—When on, the Resource
used for displacement mapping or as light projections. Collector places the scene itself (the .max file) in
the output directory. Default=off.
See also
Compress Files—When on, compresses the files
Bitmap/Photometric Path Editor Utility (page into a ZIP file, saved in the output directory.
3–123) Default=off.
Copy or Move—Choose Copy to make a copy of the
files in the output directory. Choose Move to move
the files (they are deleted from the directory in
which they originally were saved). Default=Copy.
Update Materials—When on, updates material Interface

paths. Default=off.
Begin—Click to collect the resource files according
to the settings above this button.
Fix Ambient Utility

dialog > Fix Ambient
The Fix Ambient utility solves a compatibility

problem that sometimes occurs when you use
Autodesk VIZ to open files from earlier versions of
Autodesk VIZor 3ds Max.
In Autodesk VIZ, the ambient (page 3–654) and
diffuse (page 3–668) color channels are locked for Find All— The utility searches the entire scene for
standard materials. However, this was not always materials with different ambient and diffuse colors.
the case with earlier versions of Autodesk VIZand
Find Selected— The utility searches the current
3ds Max. As a result, files might render differently
selection for materials with different ambient and
than expected.
diffuse colors.
The Fix Ambient utility looks for standard
Help— Opens the help file to this topic.
materials in the current scene whose ambient
and diffuse colors are different, presenting you
Different Ambient and Diffuse Materials
with the option to copy the diffuse color to the
ambient color channel. This will ensure that your This dialog appears after clicking Find All or Find
renderings are consistent with earlier versions of Selected.
products.
Bitmap Pager Statistics Dialog 129
Bitmap Pager Statistics Dialog

Customize menu > Customize User Interface > Category:
All Commands or Render > Action: Bitmap Pager Statistics
Toggle > Assign to hotkey, menu, etc.
The Bitmap Pager Statistics dialog provides

information to help you resolve issues with scenes
that require large amounts of memory for texture
maps. It is intended for advanced users to debug
scenes and help shorten render times.
By default, the dialog is not available in the
interface; it must be added as a hotkey, menu item,
or toolbar button via Customize User Interface
(page 3–511) functionality.
Interface
Status Message— This area displays a message

indicating whether your scene (or selection) has
materials with different ambient and diffuse values.
Material List— Lists all of the materials with
different ambient and diffuse values. The read-only dialog shows statistics in four
Fix Selected— Locks the ambient and diffuse categories:
channel for the materials selected in the dialog. • Memory Usage
Cancel— Closes the dialog without making any • Number of Pages
changes. • Activity
• Memory Limit
erases all thumbnail files from the cache directory

Asset Browser Subdialogs you were using previously.
Delete Files—Removes all thumbnail files from
your cache directory.
Preferences Dialog (Asset Browser)
Maximum Disk Space—Sets the maximum size of
Utilities panel > Utilities rollout > Asset Browser button the cache directory. When you exit Asset Browser,
> File menu > Preferences
the program selects the size of the cache directory.
If it’s over the maximum size, the program deletes
Contains the settings with which you can manage the oldest thumbnail files until the total size is 50
the Asset Browser’s cache directory and control percent of the Maximum Disk Space setting.
drag and drop operations.
Drag and Drop group
Interface
Provides controls for importing or linking files
after dragging and dropping them into a viewport.
Show the merge/import/XREF dialog—Displays the
merge/import/XREF dialog after you drop a file
into a viewport.
Always merge/import the file—Imports the file
without prompting for confirmation after you
drop it into a viewport.
Always XREF the file—Links the file as an XREF
without prompting for confirmation after you
drop it into a viewport.
Ask me each time—Displays a popup menu to
confirm importing or linking after you drop a file
Cache Directory group into a viewport.
Provides settings and controls for the cache
directory.
Internet Download Dialog
Browse—Displays the Choose Cache Directory
dialog where you can specify a new directory to use Utilities panel > Utilities rollout > Asset Browser button >
Address bar > Enter URL of geometry files on World Wide
for your cache. The adjacent text box displays the Web. > Drag thumbnail over active viewport.
path of the cache directory where the thumbnail
Menu bar > Tools > Asset Browser > Address bar >
images are stored. You can change the path either Enter URL of geometry files on World Wide Web. > Drag
by editing the field or choosing a directory from thumbnail over active viewport.
the pane below the Folders field.
When you drag geometry files from the World
Note: When you change directories, you’re asked
Wide Web using the Asset Browser, the Internet
if you want to clear the cache from the previous
Download dialog appears. How long this dialog
directory. If you choose to do so, the program
Favorite Location Dialog 131
remains on-screen depends on the size of the file

you’re downloading. Favorite Location Dialog
Utilities panel > Utilities rollout > Asset Browser button
Interface > Favorites menu > Add to Favorites
Menu bar > Tools > Asset Browser > Favorites menu >
Add to Favorites
The Favorite Location dialog allows you to add

Web sites and path names to the Asset Browser
Favorites menu and Favorites bar. When you
want to open that page or view the files from a
pathname, you can click the appropriate shortcut
button from the Favorites bar, or click the
appropriate menu item from the Favorites menu.
Interface
Download Information group

Displays the URL of the download, the pathname
of the file being saved, and a meter indicating the
bytes downloaded.
Uniform Resource Locator (URL)—Displays the URL
and file name that you’re downloading. Custom Label
Saved as Local File—Displays the pathname of the The button displays the Load Custom Icon dialog.
file being saved as a result of the download. Use this dialog to select an icon file to associate
with the Web site or path name you’re adding to
Options group the Favorites. You must use icon files that have an
Specifies whether or not to place the objects when .ico extension.
the download is complete. If you leave this option The text box adjacent to the button displays the
selected, Autodesk VIZ allows you to position the URL of the Web page, or the path name that
mouse at the location of your choice. you’re adding to the Favorites. You can edit this
to wording of your choice. The unedited URL or
pathname displays in the label below the Custom
Label group.
Add to favorites pull down menu—When you turn 4. Click Set Path.
this on, Web site or path-name shortcuts are 5. Enter the correct path in the New Path field, or
added to the Favorites menu. When this box is not click the "..." button to browse to the correct
selected, the Web site or path-name shortcuts are path in a Windows file dialog.
added only to the Favorites bar.
The Bitmap/Photometric Path Editor updates
the selected maps’ path to use the new path.
Interface
Bitmap Path Editor
Subdialogs
Bitmap / Photometric Path Editor

Dialog
dialog > Bitmap/Photometric Paths > Edit Resources
button
This dialog is the main part of the interface to the List of maps and photometric files—Shows all
Bitmap / Photometric Path Editor utility (page bitmaps and photometric files (IES (page 2–958),
3–123). CIBSE (page 3–663), LTLI (page 3–693)) used in
the scene, along with their current path.
See also When no file is selected in the list, the only controls
Asset Browser Utility (page 3–117) available in the dialog are Close, Select Missing
Maps, and Strip All Paths.
Missing External Files Dialog (page 3–116)
Close—Click to close the dialog.
Resource Collector Utility (page 3–127)
Info—Click to display a Resource Information
Procedure dialog (page 3–133).
To correct the path name for a missing map: This button is available only when a single file is
You must first locate the missing bitmap or selected in the list.
photometric files. The Windows Search program Double-clicking a name in the list is another way
can help you with this. to display the Resource Information dialog.
1. On the Bitmap / Photometric Path Editor Copy Files—Copies the selected files to a directory
dialog, click Select Missing Files. you choose. This button displays a Windows
2. Click to select a single missing file in the list. file dialog that lets you choose the destination
If a group of missing files are in the same directory.
directory, you can leave all of them selected. Select Missing Files—Highlights the names of
3. Click Strip Selected Paths. missing files in the list.
Resource Information Dialog 133
Find Files—Click to search for the maps or Interface

photometric files in the current selection. This
button displays an alert that shows how many files
are findable, how many files are missing.
Strip Selected Paths—Click to strip the path from
the selected files. An alert appears to warn you that
the scene will lose this information.
Strip All Paths—Click to strip the path from all files
in the list. An alert appears to warn you that the
scene will lose this information.
Set Path—Click to apply the New Path field to the
selected files.
If the New Path field is identical to the selected file
or files, clicking Set Path clears New Path.
Referenced by Nodes—Lists the objects ("nodes")
New Path—Lets you enter a path for the currently that are assigned materials that use this bitmap
selected file or files. Default=The path of the or use a given photometric distribution file (page
currently selected file, or none if multiple files with 2–941).
differing paths are selected.
Close—Closes the dialog.
"..." button—(To the right of the New Path field.)
View Bitmap—Displays a rendered frame window
Displays a Windows file dialog to let you browse
for a path.
(page 2–1318) that shows the bitmap. This button
is unavailable if the file is a photometric file, and it
has no effect if the map is missing.
Resource Information Dialog
dialog > Bitmap/Photometric Path Editor > Edit Resources
button > Select a single bitmap or photometric file name.
> Info button Internet Access
dialog > Bitmap/Photometric Path Editor > Edit Resources
The Asset Browser (page 1–15) can locate locally
button > Double-click a bitmap or photometric file name. or network-stored materials, textures, geometry,
and other 3D assets that can be easily dragged
The Resource Information dialog displays and dropped into the Autodesk VIZ workspace.
information about where a bitmap is used in other The Browser can also access the Internet to do the
materials or photometric distribution files and same.
shows an image of the bitmap.
The Asset Browser provides embedded Web
browser functionality, so you can go directly
to the Internet to capture 2D and 3D content
for use in Autodesk VIZ. For example, a visit
to any of several manufacturers’ sites, such as
www.formica.com, can yield flooring, countertop, drag-and-drop operation. The content can be any
or other samples in bitmap form. Provided a type of file (such as a geometry or a raster file) that
site encourages such use of its content (and the content producer has made available and that
most do), these thumbnails can be dragged into the application will accept.
Autodesk VIZ with a single mouse movement and
For example, imagine that you are a lighting
dropped onto objects in a scene for instantaneous
designer and require a specific fixture to embed
"what if " visualizations of different textures and
within your Autodesk VIZ scene. Now imagine
treatments. They can also be saved for later use.
that a lighting company such as ERCO has a Web
2D and 3D geometry can also be captured off the site containing a library of their fixtures online.
Internet and put to immediate use in Autodesk VIZ You can browse this library, then drag and drop
scenes. You can also use the Asset Browser with the appropriate fixture into your scene. You don’t
topographical maps, detailed aerial and satellite need to download the file and then insert it. Now
photos, and any design data in MAX or STL form. you can drag any MAX file from an i-drop-enabled
In this way, you are assured instant access to the web site and drop its geometry directly into your
latest design content, free from leading vendors Autodesk product.
around the world, without leaving your desktop.
In addition to geometry, you can drag and drop
photometric data, cost information, materials, and
For Web Content Providers
so on.
Any Web page that uses standard HTML source
An i-drop object in a Web page is an open gateway
code can easily be enhanced so that Autodesk VIZ
between the content provider’s server and the
users can access it for content. Making bitmap
Autodesk software user’s desktop. Web pages that
textures (.BMP, .JPG, .GIF, .TIF, etc.) available
contain i-drop objects can be designed to look
for downloading requires no special HTML
and behave exactly like standard Web pages in a
coding, but there are guidelines you should
standard Web browser. You simply drag the i-drop
follow for optimum utility to Autodesk VIZ
object from the provider’s Web page and drop it
users. Making geometry files (.max) available
onto a desktop or into an application.
to a an Autodesk VIZ user requires some simple
modifications to your HTML source code. The desktop or application is the i-drop target.
The i-drop target requests the data in one or more
See also specific clipboard formats and receives the content.
i-drop Indicator (page 3–134) This is called being "i-drop aware." i-drop can also
deliver data in any of the system default clipboard
formats. What the application gets depends on
i-drop Indicator what clipboard format it requires. For example, if
the user drags to the desktop, the desktop takes a
In order to support the World Wide Web as a file. If the user drags to a text editor, the text editor
primary source of product information, Autodesk takes textual data. What the desktop or application
has introduced the i-drop™ Indicator. This enables takes is independent of i-drop.
manufacturers and design professionals to publish
and acquire design data using standard Web pages. For more information, see http://
idrop.autodesk.com.
The i-drop Indicator is used to transfer content
from the World Wide Web by means of a
Geometry File Formats 135
Importing VRML Files (page 3–233)

Geometry File Formats
Exportable File Formats
The Import (page 3–100) and Export (page 3–101)
Exporting 3D DWF Files (page 3–139)
commands on the File menu (page 3–385) let
you share 3D geometry with other 3D modeling Exporting to 3DS (page 3–143)
programs. The software can import and export
Exporting to Adobe Illustrator (page 3–145)
a variety of file formats.
Exporting to ASCII (page 3–145)
Autodesk VIZ can also open DRF Files (page
3–136), which are created in VIZ Render, Exporting AutoCAD DWG Files (page 3–157)
a rendering tool packaged with Autodesk
Exporting to DXF Files (page 3–165)
Architectural Desktop.
Exporting FBX Files (page 3–171)
See also
Exporting IGES Files (page 3–176)
Asset Browser Utility (page 3–117)
Exporting Lightscape Files (page 3–178)
Internet Access (page 3–133)
Exporting to Shockwave 3D (page 3–225)
i-drop Indicator (page 3–134)
Exporting to STL (page 3–233)
Compatible File Formats Exporting to VRML97 (page 3–234)
MAX Files (from 3ds Max) (page 3–136)
VIZ Render (DRF) Files (page 3–136) Importing Geometry
When you import geometry, using the Import
Importable File Formats
command on the File menu, in most cases a
Importing 3DS Files (page 3–141) dialog is displayed that asks whether you want the
Importing PRJ Files (page 3–142) imported geometry to be added to the scene, or to
replace the scene entirely. For example:
Importing SHP Files (page 3–144)
Importing Adobe Illustrator 88 Files (page 3–145)
Importing AutoCAD Drawing Files (page 3–147)
Importing DXF Files (page 3–159)
Importing FBX Files (page 3–168)
Importing Autodesk Inventor Files (page 3–165)
Importing IGES Files (page 3–174)
Importing LandXML/DEM Models (page 3–190)
Importing Lightscape Files (page 3–210)
Importing STL Files (page 3–231)
Merge objects with current scene—Merges

imported data with the current scene. VIZ Render (DRF) Files
Completely replace current scene—Completely
DRF is the file format for VIZ Render, a rendering
replaces the current scene with the imported data. tool included with Autodesk Architectural
In general, once you respond to this dialog, a Desktop 2005. The DRF file type is similar to MAX
second dialog with geometry-specific options is files from previous versions of Autodesk VIZ.
displayed, as described in the topics that follow. This file format is available only when you use the
(For some geometry formats, only one dialog File menu > Open (page 3–91) command. All DRF
appears, and these options are merged with the files must be saved as MAX files in Autodesk VIZ.
geometry-specific options.) Likewise, DRF files cannot be imported or merged
into Autodesk VIZ scenes.
Note: You can open DRF files using drag-and-drop
functionality.
Working with MAX Files Saving DRF Files
from Autodesk VIZ DRF files must be saved as MAX files in
Autodesk VIZ.
Working with MAX Files from 3ds Important: Once you save a DRF file in Autodesk VIZ, it
Max becomes a MAX file and you can no longer open it in
VIZ Render.
Although they share the same file type,
Autodesk VIZ files and 3ds Max files are quite
Units
a bit different. This topic describes some of the
differences, and recommends ways to obtain the In VIZ Render, you can only use meters as your
desired results from your files. system unit. However, Autodesk VIZ lets you
define your own system unit, and how units are
See also displayed. For more information on units, see
Using Units (page 2–618) and Units Setup Dialog
Working with Drawing Files (page 3–316)
(page 3–581).
Missing Maps
Missing Maps
Many times, when you open a MAX file from 3ds
Many times, when you open a DRF file, you
Max, you will be presented with a Missing External
will be presented with the Missing External Files
Files dialog (page 3–116). To locate the missing
dialog (page 3–116). To locate the missing files,
files, click Browse and then add the appropriate
add the appropriate VIZ Render directories to
3ds Max directories to the Configure External File
the Configure Paths dialog > External Files panel
Paths dialog (page 3–532).
(page 3–532).
Working with DRF Files in Autodesk VIZ 137
Handling Linked Geometry in Substituted Objects

Autodesk VIZ
There is no substitution modifier in Autodesk VIZ.
Linked objects show up as Linked Geometry However, if you open a DRF file with substituted
objects on the Modify panel. These objects don’t objects, Autodesk VIZ will recognize the
allow access to sub-object levels where minor substitutions and will add the substituted objects
editing can occur. If a linked geometry object is into the scene.
moved, rotated or scaled you do have the option
to Reset Position. User Interface Changes
Some of the user interface elements in
Autodesk VIZ are not where you would expect
them if you are coming from VIZ Render. For
example, the viewport controls (page 3–457) are
in the bottom-right corner, instead of the top-left.
For more information on the user interface, see
User Interface (page 3–381).
Render Presets
The Render Presets in Autodesk VIZ are very
different from the presets in VIZ Render. For more
information on using them, see Preset Rendering
Options (page 2–1330).
Working with DRF Files in

Linked Geometry user interface on the Modify panel. Autodesk VIZ
Autodesk VIZ recognizes Linked Geometry Saving DRF Files
objects when you open a MAX file created in
VIZ Render. Since linked geometry objects offer DRF files must be saved as MAX files in
no parameters on the Modify panel, you must Autodesk VIZ.
first add an Edit Mesh modifier to the object or Important: Once you save a DRF file in Autodesk VIZ, it
collapse the linked geometry object to an Editable becomes a MAX file and you can no longer open it in
Mesh in order to access sub-object levels. If you VIZ Render.
add a modifier to linked geometry, the modifier is
applied to all instances of that object. Units
Linked Geometry objects are assigned a special In VIZ Render, you can only use meters as your
LinkTM controller. If a the object is converted system unit. However, Autodesk VIZ lets you
to an Editable Mesh, Poly, NURBS or Editable define your own system unit, and how units are
Spline, the LinkTM controller is replaced with a displayed. For more information on units, see
PRS controller. Using Units (page 2–618) and Units Setup Dialog
(page 3–581).
Missing Maps add a modifier to linked geometry, the modifier is

applied to all instances of that object.
Many times, when you open a DRF file, you
will be presented with the Missing External Files Linked Geometry objects are assigned a special
dialog (page 3–116). To locate the missing files, LinkTM controller. If a the object is converted
add the appropriate VIZ Render directories to to an Editable Mesh, Poly, NURBS or Editable
the Configure Paths dialog > External Files panel Spline, the LinkTM controller is replaced with a
(page 3–532). PRS controller.
Handling Linked Geometry in Substituted Objects

Autodesk VIZ
There is no substitution modifier in Autodesk VIZ.
Linked objects show up as Linked Geometry However, if you open a DRF file with substituted
objects on the Modify panel. These objects don’t objects, Autodesk VIZ will recognize the
allow access to sub-object levels where minor substitutions and will add the substituted objects
editing can occur. If a linked geometry object is into the scene.
moved, rotated or scaled you do have the option
to Reset Position. User Interface Changes
Some of the user interface elements in
Autodesk VIZ are not where you would expect
them if you are coming from VIZ Render. For
example, the viewport controls (page 3–457) are
in the bottom-right corner, instead of the top-left.
For more information on the user interface, see
User Interface (page 3–381).
Render Presets
The Render Presets in Autodesk VIZ are very
different from the presets in VIZ Render. For more
information on using them, see Preset Rendering
Options (page 2–1330).
Linked Geometry user interface on the Modify panel.
Autodesk VIZ recognizes Linked Geometry

objects when you open a MAX file created in
VIZ Render. Since linked geometry objects offer
no parameters on the Modify panel, you must
first add an Edit Mesh modifier to the object or
collapse the linked geometry object to an Editable
Mesh in order to access sub-object levels. If you
Exporting 3D DWF Files 139
• Procedural materials are exported, but they are

3D DWF Files only a rough approximation and will be very
low resolution. Real-World Map Size should
be turned off for objects that have procedural
Exporting 3D DWF Files materials assigned to them.
• Materials that have transparency are correctly
File menu > Export > Publish to DWF
exported and their opacity values are
recognized by the DWF Viewer. Even as you
With 3D DWF publishing, you can export orbit the view, objects that pass behind other
Design Web Format™ (.DWF™) files of your objects that have transparent materials assigned
three-dimensional models with nearly the same are still visible.
visual fidelity as in rendered scenes. DWF files
are relatively small files that can easily be shared Limitations of 3D DWF Export
with a team working on a project who may not
have Autodesk VIZ. It also provides a fast way Materials and Environments
for viewing models without having to spend time • Environment backgrounds are not exported;
animating and rendering them because you can the DWF Viewer uses its own background color
use the Orbit feature in the viewer to fly around setting.
the model.
• Environmental effects such as fog do not
For example, a DWF file of your scene can allow export.
you and others to quickly view an interactive • Materials using reflection maps such as Flat
model as well as the properties of each object. Mirror do not produce a reflection when
Recipients of 3D DWF files can view and print exported.
them using the Autodesk® DWF™ Viewer, • Two-sided materials are not supported.
which is installed with Autodesk VIZ. For more However, you can get around this by turning on
information about using the viewer, see the Force Two Sided on the Render Scene dialog.
Autodesk DWF Viewer help system.
Note: Turning on Force Two-Sided affects
the entire scene. This can slow down the
Feature Support with 3D DWF Export performance of the DWF Viewer because it has
• 2D and 3D splines. The Enable In Viewport to process the two-sided display of everything
setting on the Rendering rollout (page 1–239) in scene.
does not need to be enabled in order to export • Materials from third-party suppliers and
splines. mental ray materials are not exported.
• 3D geometry. Objects that have unsupported materials
• Texture mapped materials with a diffuse map display in their diffuse color in the viewer.
channel, UV mapping channels, and material Architectural Desktop materials are displayed
IDs are published. in their ambient color.
Note: Materials that have Real-World Map • Not all material parameters are exported, even
Scaling (page 3–721) enabled display more for supported materials. Therefore, materials
accurately in the DWF viewer. that are exported to the DWF Viewer may not
look as they do in a rendered image.
Lights Interface
• You cannot export scene lighting.
Cameras and Animation
• Named camera views are not exported. If the
scene is set in a Camera viewport at the time
of the export, it will display in the viewer as
shown, however, the camera view will not be
listed.
• Animations are not supported, however, the
frame at the time of the export is published.
Procedure
To export a 3D DWF file:
1. Set up the scene in the active viewport as you
want it displayed in the Autodesk DWF Viewer.
If you want to publish particular objects or
layers, make a selection set of those objects.
Hide those objects or layers you do not want
published.
Note: You can also isolate objects in the viewer Grouping Options group
you want to hide or make transparent. Group by Object—When turned on, objects are
Tip: If you have a camera in the scene and want listed in the Model tree pane in the Autodesk DWF
that view exported, make sure the Camera Viewer by their object name or group name.
viewport is active when you publish the DWF Group by Layer—When turned on, objects are
file. grouped in the Model tree pane in the Autodesk
2. Choose File menu > Export. DWF Viewer by their respective layers.
3. Choose Publish to DWF (*.DWF) from the
Publishing Options group
Save as type list in the file selector dialog.
4. Specify a file name to export. Publish Object Properties—When turned on, object
property data is exported and displayed in the
5. Click Save.
viewer and reported in the log file if Save Log File
6. In the DWF Publish Options dialog, selected is enabled. Object Properties displayed are: object
the desired options. Click OK. name, layer name, face count, vertex count, and
7. If Save to Log file is enabled, enter a new name whether the object is frozen or hidden.
or specify a different folder if you do not want Publish Materials—Displays objects with their
the existing log file to be overwritten. assigned materials in the viewer. When turned off,
objects are displayed in the highlight color set in
the Options dialog in the viewer. Material names
are not exported.
Importing 3DS Files 141
Publish Selected Objects Only—Exports only those Note: When exporting a scene with all the lighting
objects that have been selected prior to exporting. baked into the texture maps after using Render to
All other objects are not exported when this is Texture, if Use Default DWF Lights is turned on
turned on. the scene may actually appear darker in the DWF
Viewer, and the built-in DWF lights will cause the
Publish Hidden Objects—Hidden objects are
scene lighting to change as you orbit around the
exported and displayed in the viewer. When
objects in the scene. With it turned off, the lighting
turned off, objects that are hidden or on layers that
will be constant as you move through the scene.
are hidden are not displayed. Hidden objects are
listed in the log file if Save Log File is enabled. Save Log File— When enabled, Autodesk VIZ
Note: Frozen objects and frozen layers are exported. creates a text file with an .log file extension that
lists objects, their layers, face and vertex counts
General group that are exported as well as the time and date of the
export. Objects that were not selected or hidden
Show DWF in a V iewer—When turned on, the
are also listed as not as not being exported. The log
exported DWF file is automatically opened in the file is overwritten each time a DWF file is created
Autodesk DWF Viewer. When turned off, the unless the log file name or file location is changed.
viewer must be opened outside of Autodesk VIZ. Default=on.
Rescale Bitmaps—When turned on, bitmap
textures are automatically rescaled in the DWF file
to the size set for pixels for Maximum Resolution.
Turn this on if the scene contains large texture files
in order to reduce the DWF file size. 3D Studio Mesh (3DS, PRJ)
Note: This setting has no effect when Publish Files
Materials is turned off.
Maximum Resolution (pixels)— Sets the maximum
length, in pixels, of the longest edge of all the
Importing 3DS Files
bitmap images that are used as textures. File menu > Import > Select File To Import dialog > Files
Of Type > 3D Studio (*.3DS)
Note: All bitmap images exported to the DWF file
are compressed to JPG (page 3–263) format in
3DS is the 3D Studio® (DOS) mesh-file format.
order to create small DWF files.
You can import 3DS files into Autodesk VIZ.
Use Default DWF Lights—Lets you control whether
When you import a 3DS file, you can merge the
the DWF Viewer adds its own default lighting.
imported objects with the current scene or replace
When turned off, the scene is displayed without
the current scene completely. If you choose to
lights in the viewer, which can result in the scene
merge the objects with the current scene, you
objects being flat shaded making them appear
are asked whether you want to reset the length
two dimensional. Turn Use Default DWF Lights
of the animation in the scene to the length of
off if the scene contains lights that are already
the imported file (if the imported file contains
baked into textures with Render to Texture (page
animation).
2–1437), otherwise it is recommended that DWF
lights are used. Default=on. When you import a 3DS file, the following
information is imported:
• Backgrounds (solid, gradient, and bitmap). • Decal transparency using the RGB color of the
• Fog, Layered Fog, and Distance Cue. upper-left pixel of the map.
• Ambient light level. Interface

• Subtractive transparency is converted to
Autodesk VIZ "Filter" transparency and the
filter color is set equal to the diffuse color.
• Transparency falloff settings.
• All map channels that are enabled. Map
channels that are turned off in the 3DS file do
not import into Autodesk VIZ.
• All map parameters, including UV transforms,
Negative, Mirror, and Rotation. Some Map
parameters such as Blur, Luma, RGB, and
Alpha work much differently in Autodesk VIZ.
These values are converted to new values that
Merge objects with current scene—Merges
produce a similar affect.
imported data with the current scene.
• Mask bitmaps are imported as Autodesk VIZ
mask textures. Completely replace current scene—Completely
replaces the current scene with the imported data.
• When materials with both Texture 1 and
Texture 2 are imported, a composite texture is Convert units—When turned on, the software
created and added to the Standard material’s assumes units in the imported file to be in inches,
Diffuse channel. and converts them to the current system of units.
When turned off, the software assumes the units
• Reflection maps, auto-cubics, and mirrors.
in the imported file match the current scene unit
• Automatic reflection map Nth frame and Map and doesn’t convert the units.
Size settings.
• SXP translation for Marble and Noise materials.
• 3DS/DOS R4 IK joint parameters.
Importing PRJ Files
• 3D Surfer patch data. File menu > Import > Select File To Import dialog > Files
Of Type > 3D Studio Project (*.3DS,*.PRJ)
When you import a PRJ file, all of the above items
are imported, plus shapes. PRJ is the 3D Studio (DOS) project-file format.
When you import a 3DS file, the following When you import a PRJ file, you can merge the
information is not imported: imported objects with the current scene or replace
• Morph keys. the current scene completely. If you choose to
merge the objects with the current scene, you’ll
• Keyframer instances. be asked whether you want to reset the length
• Map channels that are turned off. of the animation in the scene to the length of
• Custom .cub-format cubic maps. the imported file (if the imported file contains
animation).
Exporting to 3DS 143
You’ll also be asked how you want the software to

handle shapes (page 3–731) in the incoming file: to Exporting to 3DS
make them into a single object or multiple objects.
File menu > Export > Select File To Export dialog > Save
As Type > 3D Studio (*.3DS)
Interface
When you import a PRJ file, you first see a 3DS 3DS is the 3D Studio (DOS) mesh file format. You
Import dialog (page 3–141). This is identical to the can export Autodesk VIZ files to this format.
dialog you see when you import a 3DS file. When When you export a 3DS file, the following
you have set the options and clicked OK in the 3DS information is exported:
Import dialog, you then see a Shape Import dialog.
• Position, Rotation and Scale animation. If the
controller is a TCB controller, the TCB, Ease
In, and Ease Out values are also saved. If the
controller is any other type of key controller, the
keys are saved but the tangent information is
lost. If the controller is not a key controller, only
the object’s transformation at frame 0 is saved.
• Basic material color/parameters from the
Standard material.
• Single maps with their amount, offsets, scales,
etc.
When importing PRJ files, the software converts • Auto-cubics and Mirrors.
polygons to shape objects. You choose an option • Target cameras, target spotlights and omni
in the Shape Import dialog to set how the shape lights.
objects are created: • Most "static" parameters for cameras and lights,
Import Shapes—Turn on this option if you don’t and animation tracks for Roll, Falloff, Hotspot,
want to import shapes from a .prj file. and FOV.
Single Object—All polygons in the .prj file are When you export a 3DS file, the following
converted to Bezier splines and placed inside a information is not exported:
single composite shape object. • Composite and procedural maps.
Multiple Objects—Each polygon in the .prj file is • Grouped object transformations. There’s no
converted to a Bezier spline and placed inside an concept of group hierarchy in the 3D Editor.
independent shape object. Groups export to the Keyframer because the
Keyframer understands hierarchies.
• Global shadow parameters.
When you export a 3DS file, the following occur:
• All non-mesh geometry, such as procedural
primitives and patches, is collapsed to meshes
before export.
• Objects are exported as they exist on the frame When importing an SHP file that contains multiple
Autodesk VIZ displays at export time. shapes, the software gives you the option to either
• Meshes are saved with edge display information merge them all into one object or make multiple
and smoothing groups. incoming objects.
• Autodesk VIZ instances are saved as Keyframe The shape importer looks at the vectors on
instances. incoming splines, and if they’re collinear within a
couple of percentage points, it changes the angle to
• Modifier animation is frozen at the current
a smoothed Bezier (otherwise, it’s a Bezier corner).
frame, collapsed, and exported as a simple
mesh.
Interface
Interface When you import an SHP file, you first see a 3DS
Import dialog (page 3–141). This is identical to the
dialog you see when you import a 3DS file. When
you have set the options and clicked OK in the 3DS
Import dialog, you then see a Shape Import dialog.
When you choose 3DS as the export file format,

enter a file name, and click Save, an Export Scene
To .3DS File dialog is displayed. This dialog has a
single option:
Preserve MAX’s Texture Coordinates—When
on, preserves mapping coordinates. When off,
mapping information is discarded. Default=on. Import Shapes—When on, imports the shape
objects. When off, does not import them.
Default=on.
Import Shapes As group

3D Studio Shape (SHP) Files Single Object—(The default.) When chosen,
imports all shapes in the SHP file as a single
editable spline object (page 1–261).
Importing SHP Files
Multiple Objects—When chosen, imports each
File menu > Import > Select File To Import dialog > Files
Of Type > 3D Studio Shape (*.SHP) shape in the SHP file as an individual editable
spline object.
SHP is the 3D Studio (DOS) shape file format. You
can import these files into Autodesk VIZ.
A .shp file contains polygons created in the 2D
Shaper in 3D Studio.
Importing Adobe Illustrator 88 Files 145
coordinates of the shape’s local coordinate system,

Adobe Illustrator (AI) Files discarding the Z coordinates.
Procedure
Importing Adobe Illustrator 88 To export a file to Adobe Illustrator:
Files 1. Select one or more shape objects.
File menu > Import > Select File To Import dialog > Files 2. Choose File menu > Export.
Of Type > Adobe Illustrator (*.AI)
3. Select Adobe Illustrator (*.AI) as the file format.
You can import Adobe Illustrator (AI88) files into 4. Enter a file name, and click Save.
Autodesk VIZ.
Interface
ASCII (ASC, ASE) Files
Exporting to ASCII
File menu > Export > ASCII Scene Export (*.ASE)
When you choose ASCII Scene Export (*.ase) as

When importing AI88 files, the software converts the Save As type, the exported file is an ASCII
polygons to shape objects. You choose an option representation of your scene. A dialog lets you
in the Shape Import dialog to set how the shape specify which scene components are included,
objects are created: and how they’re output. This is helpful if you are
writing a program that requires you to parse the
Single Object—All polygons in the .ai file are ASCII file.
converted to Bezier splines and placed inside a
single composite shape object. Interface
Multiple Objects—Each polygon in the .ai file is
converted to a Bezier spline and placed inside an
independent shape object.
Exporting to Adobe Illustrator

As Type > Adobe Illustrator (*.AI)
You can export shapes that can be converted to

Bezier splines (page 3–660). The software exports
these shapes in 2D only. It uses only the X and Y
Output Options group supporting the face. Turning this on results in a

much larger file.
Provides check boxes to specify which general
options are included in the ASCII file. Mapping Coordinates—Exports a list of mapping
vertices and faces, according to the TVert and
Mesh Definition—Exports the definition of each
TVFace structures described in the Autodesk VIZ
mesh, including vertex and face information for
Software Development Kit. If an object uses face
geometric objects. In addition, turning this on
mapping, a face map list is exported containing
enables the items in the Mesh Options group box,
UVW coordinates for each face.
described below.
Vertex Colors—Exports vertex colors.
Materials—Includes the material description. If a
material is not assigned to an object, its wireframe
Object Types group
color is exported. All levels of a material tree are
included, so this can produce a lot of text. The items here let you specify which category of
object you want included in the output. You can
Transform Animation Keys—Includes the transform
include geometric objects, shapes, cameras, lights,
animation data for the objects. If the object is a
and helper objects.
target camera or spotlight, this will include target
animation data. Static Output group
Animated Mesh—Exports a complete mesh Frame #—Lets you specify which frame of the
definition of every n frames. The frequency animation will be used to export all static data,
is specified by the Controller Output spinner, whether or not you output controller animation
described below. Each block contains the same data.
information specified in the Mesh Options group
box, described below. Turning this on can result in Precision group
a huge file, even for small scenes.
Decimals—Lets you specify the precision (the
Animated Camera/Light Settings—Exports the number of digits after the decimal) of the values
animation data for cameras and lights, such as exported to the ASCII file.
color, intensity, falloff, map bias, etc. Outputs a
block every n frames, as specified by the Controller Controller Output group
Output spinner.
Use Keys—Exports key values. If the controller
Inverse Kinematics Joints—Exports the IK joint doesn’t use keys, then the Force Sample method
settings in the Hierarchy branch. is used. In the case of transform controllers, the
Use Keys option works only if all of the transform
Mesh Options group controllers are either Linear/TCB or Bezier. If one
These items are enabled only when Mesh of the transform tracks uses a different type of
Definition is turned on in the Output Options controller, then the Force Sample method is used
group box. for all transform tracks.
Force Sample—Samples controller values based on
Mesh Normals—Exports the face and vertex
normals. The normal of the face is listed first, the frequency specified in the Frames per Sample
followed by the normals of the three vertices Controller.
Importing AutoCAD Drawing Files 147
Frames per Sample group mechanical models to Autodesk VIZ. You can also
explode the mechanical models and then import
Controllers—Specifies the frequency, in frames,
the resulting file, but some data will not appear in
with which to sample controller values for export.
the AutoCAD drawing file.
Animated Objects—Specifies the frequency, in
Important: AutoCAD and its vertical applications, such
frames, with which to output animation settings
as Architectural Desktop (ADT), have custom objects
and mesh definitions.
that are unique to the product. In order to view them
in Autodesk VIZ, you need the appropriate Object
Enabler (OE). Object Enablers let you access, display, and
manipulate these objects in AutoCAD, as well as the
other vertical applications, including Autodesk VIZ. For a
AutoCAD Drawing Files list of downloadable OEs, see the Autodesk Web site
Legacy DWG Importer

Importing AutoCAD Drawing Files
The current DWG import utility contains
File menu > Import > AutoCAD Drawing (*.DWG, *.DXF) many improvements, including enhanced
DWG compatibility and greater user control
Although you will usually want to use the File Link and customizability; however, some features
Manager (page 3–323) to connect to drawing files, were lost from the DWG Importer found in
you can also use the Import command to bind to previous versions of the software. For this reason,
the drawing file immediately. Autodesk VIZ retains the legacy DWG Import
When you import a drawing file, Autodesk VIZ functionality (page 3–155).
converts a subset of the AutoCAD, Architectural
Desktop or Revit objects to corresponding Procedures
Autodesk VIZ objects. To import a DWG or DXF file:
After you select a drawing file to import, the 1. Choose File menu > Import.
AutoCAD DWG/DXF Import Options dialog is 2. Choose AutoCAD Drawing (*.DWG, *.DXF)
displayed. After an import, you are presented in the Files of Type list.
with editable meshes, editable splines, and
3. Specify the file to import and click Open.
PRS controllers. Nested blocks maintain their
parent-child hierarchy and will be imported as 4. Set options in the AutoCAD DWG/DXF Import
“Block/Style Parent”. In addition, if a single Options dialog.
drawing object creates both mesh and spline 5. Click OK to perform the import.
geometry, you will find objects referred to as
“Linked Geometry” in the scene. Block/Style
Parent or Linked Geometry objects appear in the
modifier stack on the Modify panel.
Note: If you import multiple drawings, the
importer merges the drawings together.
If you are using AutoSurf or AutoCAD Designer,
use the AutoCAD command 3DSOUT to export
Interface Rescale—Allows rescaling the incoming geometry

by a factor corresponding to the most common
unit type used. The importer tries to detect the
units of the DWG file being imported, compares
those units with the Autodesk VIZ system units,
and then provides the appropriate conversion
factor.
For example, if a drawing file is built in millimeters
and Autodesk VIZ has its System Units set to
inches, the AutoCAD DWG/DXF Import Options
dialog automatically has Rescale on and the
Incoming File Units set to millimeters.
When there is a scale disparity, It’s generally
advisable to rescale an incoming drawing to
more realistic units to account for the precision
limitations of Autodesk VIZ compared to
AutoCAD. For instance, if you import an
airport designed in millimeters in AutoCAD, set
Incoming File Units to Feet or Meters. For further
information, see A Note on Large-Scale Drawings
(page 3–155).
Note: If the units are unspecified in the drawing,
the drop-down list is blank. In this case, if you
click OK to perform the import with Rescale on,
you are prompted to select a value for Incoming
File Units, and are then returned to the AutoCAD
DWG/DXF Import Options dialog.
Incoming File Units—This drop-down list lets
you specify the base units in the incoming file.
Geometry panel: Scale group Available only when Rescale is on.
Model Size—Incoming geometry is evaluated Derive AutoCAD Primitives By group

to determine its bounding box size. This field
This new group box comprises two options
displays the scene extents based on three factors:
previously found in the Geometry Options group
• Incoming file units and two new options.
• System units in Autodesk VIZ
[derivation method]—Choose the method for
• Display units in Autodesk VIZ deriving imported AutoCAD primitives from this
Note: If the size cannot be determined, the field drop-down list. The options are as follows:
shows “(Drawing Extents Not Known)”. • Layer, Blocks as Node Hierarchy—All objects on a
given layer in the AutoCAD drawing that aren’t
in blocks are combined into a single Editable One benefit of this option is that you can
Mesh or Editable Spline object when imported apply instanced animation controllers (page
into Autodesk VIZ. The name of each imported 2–685) to block subcomponents and thus, by
object is based on the AutoCAD object’s layer. transforming a single member, transform all
The imported object name has a “Layer:” members at once. For example, in a scene
prefix and is followed by the layer name. For containing a conference table with six chairs
example, all AutoCAD objects residing on the around it, you could move all of the chairs
layer Walls become part of the Editable Mesh simultaneously by moving a single chair.
named Layer:Walls after they are imported to Another advantage is that all geometry is
Autodesk VIZ. instanced, so edited UVs and normals and
Each block is imported separately as a hierarchy, other modifications need be done only once.
with the block itself as the parent object and Note: This derivation method setting might
its constituent parts as child objects. The child cause unreliable material propagation when
objects of the block are combined by layer. importing drawings containing dynamic
• Layer, Blocks as Node Hierarchy, Split by blocks. Materials may propagate to some block
Material—This works the same as the Layer, instances and not to others.
Blocks as Node Hierarchy option, with
Warning: This option has the potential to create an
the following additional functionality:
enormous number of objects in your scene.
Combination of non-block objects takes place
first by layer, and then by material. • Layer—Imported objects are combined in
Autodesk VIZ according to their layer. Objects
For example, take an AutoCAD file with six
in each of the associated application’s layers are
objects in layer A: three have a Brick material
combined into one object, with the exception
and three have a Stone material. Using this
of blocks, each of which is represented as an
option, this file would be imported in the form
individual VIZBlock (not a hierarchy). Multiple
of two objects, or nodes, one containing the
inserts of the same block are represented using
Brick material and the other with the Stone
instances in the scene. Material assignments are
material.
lost but material IDs are preserved.
Each block is imported separately as a hierarchy,
• Color—Imported AutoCAD objects are
with the block itself as the parent object and
combined in Autodesk VIZ according to
its constituent parts as child objects. The child
their color. All objects of the same color are
objects of the block are combined by layer.
combined into one object, with the exception
• Entity, Blocks as Node Hierarchy—Every of blocks, each of which is represented as an
imported object not in a block is represented as individual VIZBlock (not a hierarchy). Multiple
a separate object in the Autodesk VIZ scene, inserts of the same block are represented using
without regard to layers. The nodes are then instances in the scene. Material assignments are
placed on scene layers that correspond to lost but material IDs are preserved.
the drawing layers. Each block is imported
Note: Blocks can contain objects with different
separately as a hierarchy, with the block itself
colors. However, when sorting, Autodesk VIZ
as the parent object and its constituent parts
considers only the color of the block itself.
as child objects. The child objects of the block
Also, Autodesk VIZ objects can only display
are combined by layer.
one color, unless a material is applied.
• Entity—Provides a one-to-one correspondence and placed on the Scene Unused palette (page
between AutoCAD objects and Autodesk VIZ 3–407).
objects. For each imported object or block • If you want to assign materials to these objects,
in the imported file, the importer creates an use Multi/Sub-Object materials. The assigned
independent object or VIZBlock, respectively, material IDs match the color indices specified
in the scene. Material assignments are lost but in ADT (red=1, white=7, etc.).
material IDs are preserved.
• Depending on the Texture Mapping option
Warning: This option has the potential to create an you choose, UVW coordinates are translated
enormous number of objects in your scene. correctly.
Note: When working with drawings exported
Use Scene Material Definitions—When on,
from Revit, it is recommended that you do not
Autodesk VIZ checks the current scene for any
use this setting.
currently used materials with the exact same name
• One Object—All imported objects are combined as a material name in the incoming DWG file. If a
into a single VIZBlock. Material assignments match is found, the importer does not translate the
are lost but material IDs are preserved. drawing’s material, but instead uses the material
defined in the scene.
Use Extrude Modifier to Represent Thickness—When
on, objects with thickness receive an Extrude
Geometry panel: Geometry Options group
modifier to represent the thickness value. You can
then access the parameters of this modifier and Weld—Sets whether coincident vertices of
change the height segments, capping options, and converted objects are welded, according to the
height value. Unavailable with the Layer, Blocks As Weld Threshold setting. Welding smoothes
Node Hierarchy option. across seams and unifies normals of objects with
coincident vertices.
When off, objects with thickness (and closed
capped objects) are converted directly to mesh Weld Threshold—Sets the distance that determines
objects. whether vertices are coincident. If the distance
between two vertices is less than or equal to the
Create One Scene Object For Each ADT
Weld Threshold, the vertices are welded together.
Object—Architectural Desktop (ADT) objects
are imported as a single object instead of being Auto-smooth—Assigns smoothing groups
separated into their constituent components. This according to the Smooth Angle value. Smoothing
means that if you import an ADT door object, the groups determine whether faces on an object
door is represented as one object instead of three render as a smooth surface or display a seam at
(frame, step, door). Turning on this switch makes their edges, creating a faceted appearance.
importing faster and the scene size smaller.
Smooth Angle—Controls whether smoothing
Note: This switch presents several modeling occurs between two adjacent faces. If the angle
concerns that you should be aware of: between the two face normals is less than or equal
• Material assignments from ADT are not to the smooth angle, the faces are smoothed.
translated during the import process. However, Unify Normals—Analyzes the face normals of each
while the objects themselves do not have object and flips normals to make their directions
materials assigned, the materials are imported consistent. If the imported geometry is not
properly welded, or if the software can’t determine
the object’s center, normals might be oriented in texture coordinates for the mesh objects that
the wrong direction. Use the Edit Mesh or Normal are imported.
modifiers to flip normals. When drawings are imported, objects are
When Unify Normals is turned off, normals are added to the scene as Editable Mesh objects
calculated according to the face vertex order in that do not have UVW coordinate assignments.
the drawing file. Face normals for solid objects Before assigning materials to imported objects,
are already unified. Turn off Unify Normals when you’ll need to apply a UVW Map modifier
importing drawings containing solid objects. (page 2–274) to add texture coordinates. When
you then apply the material and the material or
You should also turn off Unify Normals when texture map is set to Show Map in Viewport,
working with Architectural Desktop files. the texture map is displayed if the viewport
AutoCAD solids (formerly ACIS, now ASM) will is set to Smooth + Highlights. If the UVW
never have their normals unified, regardless of the Map modifier is not applied, the object turns
setting of this import toggle. Solids generate faces gray and you’ll see a Missing Map Coordinates
and normals correctly. dialog (page 2–1198) when you render the
scene.
Cap Closed Objects—Applies an Extrude modifier
to all closed objects, and turns on the Cap Start This option gives you faster loading speed, but
and Cap End options of the modifier. The Extrude no UVW coordinate generation.
modifier Amount value for a closed entity with no • Generate Coordinates For All Objects—This
thickness is set to 0. Capping makes closed entities option forces all objects to have UVW
with thickness appear solid and closed entities coordinates generated when the drawing is
without thickness appear flat. When Cap Closed imported.
Objects is turned off, the Extrude modifier Cap This option tells the DWG/DXF Importer to
Start and Cap End options for closed entities with create UVW coordinates, but loading time
thickness are turned off. No modifiers are applied is increased while the coordinate generation
to closed entities without thickness, except for occurs.
Circle, Trace, and Solid.
Curve Steps—Adjusts how smoothly an arc or
Note: If Use Extrude Modifier to Represent
curve appears when the drawing is imported.
Thickness is turned off, an extrude modifier is not
Larger numbers result in smoother curves.
applied to closed objects.
Default=10.
Texture Mapping—The texture mapping settings
Surface Deviation for 3D Solids—Specifies
affect the loading time of models that have many
the maximum allowable distance from the
objects with stored UVW Coordinates for texture
Autodesk VIZ surface mesh to the parametric
mapped materials.
3D solid surface. Small numbers produce more
Note: This setting only applies to geometry that accurate surfaces with a greater number of faces.
is stored as a mesh in the scene. Spline shapes Large numbers produce less accurate surfaces
marked as renderable have separate controls with fewer faces. In most cases, the default value
for UVW coordinate generation on the Spline suffices. Default=1.0.
Rendering panel.
• No Mapping Coordinates—When No Mapping
Coordinates is used, the software not generate
Hatches—Imports hatches from the drawing file.
Warning: This stores each line or dot in the hatch

pattern as a separate component of the VIZBlock that
defines the hatch; this can create a very large number of
objects in your scene.
Points—Imports points from the drawing file.

Note: The imported point objects are represented
in Autodesk VIZ as Point Helper objects.
Lights—Imports lights from the drawing file.
Views and Cameras—Imports named views and

cameras from the drawing file, and converts
named views to Autodesk VIZ cameras.
UCSs (grids)—Imports user coordinate systems
(UCS) from the drawing file and converts them to
Autodesk VIZ grid objects.
Layers panel
This interface is very similar to the Layer Manager
(page 3–364). Layer names remain the same as
specified in the drawing file.
Imported 3D solid with different Surface Deviation settings

Top: Surface Deviation=10.0
Center: Surface Deviation=1.0 (the default)
Bottom: Surface Deviation=0.1
Geometry panel: Include group

This group allows you to toggle the inclusion of
specific parts of a drawing file during the import
process.
External References (xrefs)—Imports xrefs attached
to the drawing file.
[layer list]—This field displays all the layers that

make up the drawing and shows their status such
as hidden/displayed or frozen/unfrozen.
Spline Rendering panel

The controls on this panel are identical in name
and operation to those found on the Rendering
rollout of an Editable Spline (page 1–261) object.
The values of these settings apply to all imported
shapes. Once the import is complete, you can
change the settings as necessary for each object.
Skip all Frozen Layers—Excludes the import of

objects on frozen layers.
Select from List—Allows you to choose specific
layers to import. A check mark beside the layer
name indicates the layer will be imported. Click
the layer to toggle the check mark.
All—The All button is only active when Select
From List is turned on. It quickly lets you select
all the layers in the list.
None—The None button is only active when Select
From List is turned on. It deselects any layers Enable In Renderer—When on, the shape is
you’ve selected. rendered as a 3D mesh using the Radial or
Invert—The Invert button is only active when Rectangular parameters set for Renderer.
Select From List is turned on. Clicking this button Enable In Viewport—When on, the shape is
reverses the selection set: currently selected layers displayed in the viewport as a 3D mesh using the
are unselected and unselected layers are selected. Radial or Rectangular parameters set for Renderer.
Use V iewport settings—Lets you set different display when rendered or viewed in the viewport
rendering parameters, and displays the mesh when Enable in Viewport is turned on.
generated by the Viewport settings. Available only
Radial—Displays the 3D mesh as a cylindrical
when Enable in Viewport is turned on.
object.
Generate Mapping Coords—Turn this on to apply
Thickness—Specifies the diameter of the viewport
mapping coordinates. Default=off.
or rendered spline mesh. Default=1.0. Range=0.0
Autodesk VIZ generates the mapping coordinates to 100,000,000.0.
in the U and V dimensions. The U coordinate
wraps once around the spline; the V coordinate is
mapped once along its length. Tiling is achieved
using the Tiling parameters in the applied material.
For more information, see Mapping Coordinates
(page 2–1036).
Real-World Map Size—Controls the scaling method
used for texture mapped materials that are applied
to the object. The scaling values are controlled
by the Use Real-World Scale settings found in Splines rendered at thickness of 1.0 and 5.0, respectively
the applied material’s Coordinates rollout (page
Sides—Sets the number of sides (or facets) for
2–1199). Default=on.
the spline mesh n the viewport or renderer. For
Auto Smooth—If Auto Smooth is turned on, example, a value of 4 results in a square cross
the spline is automatically smoothed using the section.
threshold specified by the Threshold setting below
Angle—Adjusts the rotational position of the
it. Auto Smooth sets the smoothing based on the
angle between spline segments. Any two adjacent cross-section in the viewport or renderer. For
segments are put in the same smoothing group if example, if the spline mesh has a square cross
the angle between them is less than the threshold section you can use Angle to position a "flat" side
angle. down.
Rectangular—Displays the spline’s mesh shape as
Threshold—Specifies the threshold angle for
smoothing, in degrees. Any two adjacent spline a rectangle.
segments are put in the same smoothing group if Length—Specifies the size of the cross–section
the angle between them is less than the threshold along the local Y axis.
angle.
Width—Specifies the size of the cross–section
Viewport—Choose this to specify Radial or along the local X axis.
Rectangular parameters for the shape as it will
Angle—Adjusts the rotational position of the
display in the viewport. Available only when
Enable in Viewport and Use Viewport Settings are cross-section in the viewport or renderer. For
on. example, if you have a square cross-section you
can use Angle to position a "flat" side down.
Renderer—Choose this to specify Radial or
Aspect—Sets the aspect ratio for rectangular
cross-sections. The Lock check box lets you lock
Legacy AutoCAD Import 155
the aspect ratio. When Lock is turned on, Width is Differences Between New and Legacy
locked to Length that results in a constant ratio of DWG Import
Width to Length. Features Unique to the new DWG Import System
A Note on Large-Scale Drawings • Support for all ObjectARX custom objects

(ignored by the Legacy importer).
If you attempt to import geometry that is created
very far from the origin or contains a very • Specialized support for Architectural Desktop
large bounding box in tools like AutoCAD, the and Revit objects, including style/component
Autodesk VIZ viewports and transform tools do grouping and naming, style associations
not respond properly. When you use them, the for material and modifier propagation, and
cursor does not move smoothly. material translation and assignment.
• Specialized support for AEC Civil contour
For example, if you have a file that is a mile wide,
objects (translated into a Terrain object).
but your system units are millimeters, you have a
scene width of 1.6 million units, which is too great • Support for Raster objects.
a value. If you change your system unit to feet, this • Support for axonometric named views
is less taxing on the system. (translated into cameras with the Orthogonal
If any side of the scene’s bounding box measures toggle turned on). Both importers can translate
larger than ± 1,000,000 system units, you will see perspective views.
the following dialog: • Support for attached drawing xrefs.
• Support for DXF files.
• Rescaling to imported drawings created with
units that differ from the Autodesk VIZ system
units.
• Ability to skip frozen layers, or to select specific
layers to import (or exclude) from a list.
• Ability to set shape rendering parameters
Legacy AutoCAD Import before importing to Autodesk VIZ.
File menu > Import > Legacy AutoCAD (*.DWG)

• Ability to maintain layer assignments from the
drawing file.
The new AutoCAD DWG/DXF Import Options
dialog (page 3–147) contains many improvements, Features Unique to the Legacy DWG Import
System
including enhanced DWG compatibility and
greater user control and customizability; however, • AutoCAD primitives are translated into
some things were also lost from the DWG Import Autodesk VIZ primitives.
found in previous versions of the software. For • Support for Text (though not MText).
this reason, Autodesk VIZ retains the legacy DWG
• Imported blocks are represented as groups.
Import functionality.
Interface Entity—Names each Autodesk VIZ object based

on the object type. The object type name is
followed by a number for each object converted.
For example, a Line object becomes Line.01.
Drawings can contain thousands of entities,
so deriving objects by entity can create many
Autodesk VIZobjects.
General Options group

Convert to Single Objects—Combines multiple
objects in the drawing file into a single
Autodesk VIZ object. Objects are combined
according to the current Derive Objects By setting
and their Autodesk VIZ object type. Explicit
mesh objects are combined. Shapes with no Z
axis extrusion are combined, as are shapes with
the same Z axis extrusion amount. Shapes with
differing amounts of Z axis extrusion are assigned
an Extrude modifier and are not combined.
Convert Blocks to Groups—Places all objects in
a block entity into a Autodesk VIZ group that
uses the name of the block entity and the number
Derive Objects By group .01. For example, a block entity named CHAIR
Layer—Names each Autodesk VIZ object based becomes a collection of Autodesk VIZ objects
on the object layers specified in the drawing file. inside a group named [CHAIR.01].
The layer name is followed by a number for each Multiple insertions of the block entity are
object from that layer. For example, an object on converted to instances of the Autodesk VIZ group.
the layer BASE becomes BASE.01. If Convert To For example, a second insertion of the block,
Single Objects is turned on, objects on the same CHAIR, becomes an instance of [CHAIR.01]
layer become a single Autodesk VIZ object. named [CHAIR.02].
Color—Derives the name of each Autodesk VIZ When Convert Blocks To Groups is turned off,
object based on the object’s layer color in the block definitions are ignored and block insertions
drawing. The AutoCAD color number is followed are treated as separate objects, similar to exploding
by a number for each object using that layer blocks in AutoCAD.
color. For example, objects on a layer that is set
to the color red (Color number 001) become Skip Off and Frozen Layers—Excludes the import of
COLOR001.01. Colors assigned by object are objects on layers that are hidden or frozen.
ignored in favor of colors assigned by layer. If Skip Hatches and Points—Excludes the import of
Convert To Single Objects is turned on, objects hatch patterns and point objects.
assigned the same layer color become a single
Autodesk VIZ object. Hatch patterns are made of many short line
segments and points. Importing all the objects in
Exporting AutoCAD DWG Files 157
hatch patterns can overload your Autodesk VIZ the software can’t determine the object’s center,
scene. normals might be oriented in the wrong direction.
Note: Hatch patterns are stored in drawings as Use the Edit Mesh or Normal modifiers to flip
anonymous blocks. Skip Hatches And Points normals.
skips any other anonymous blocks in the drawing When Unify Normals is turned off, normals are
file. Hatch patterns created in AutoCAD R14 are calculated according to the face vertex order in
skipped regardless of this setting. the drawing file. Face normals for 3D Solids are
Group Common Objects—Puts imported objects already unified. Turn off Unify Normals when
into a common group, based on how they are importing 3D Solid models.
derived. In other words, the group would include Cap Closed Entities—Applies an Extrude modifier
all objects on a common layer, or color, and so on. to all closed entities, and turns on the Cap Start
and Cap End options of the modifier. The Extrude
Geometry Options group modifier Amount value for a closed entity with no
Weld—Sets whether coincident vertices of thickness is set to 0. Capping makes closed entities
converted objects are welded according to the with thickness appear solid and closed entities
Weld Threshold setting. Welding smoothes without thickness appear flat. When Cap Closed
across seams and unifies normals of objects with Entities is turned off, the Extrude modifier Cap
coincident vertices. To use the Weld option, Start and Cap End options for closed entities with
first turn on Convert To Single Objects, because thickness are turned off. No modifiers are applied
welding occurs only for vertices that are part of to closed entities without thickness, except for
the same object. Circle, Trace, and Solid.
Weld Threshold—Sets the distance that determines ACIS Options group

whether vertices are coincident. If the distance
between two vertices is less than or equal to the Surface Deviation—Specifies the maximum
Weld Threshold setting, the vertices are welded allowable distance from the Autodesk VIZ surface
together. mesh to the parametric ACIS surface. Small
numbers produce more accurate surfaces with a
Auto-Smooth—Assigns smoothing groups greater number of faces. Large numbers produce
according to the Smooth Angle setting. Smoothing less accurate surfaces with fewer faces.
groups determine whether faces on an object
render as a smooth surface or display a seam at
their edges, creating a faceted appearance. Exporting AutoCAD DWG Files
File menu > Export > AutoCAD (*.DWG)
occurs between two adjacent faces. If the angle
between the two face normals is less than or When you export an AutoCAD drawing file, you
equal to the Smooth Angle setting, the faces are convert your Autodesk VIZ objects into AutoCAD
smoothed. objects. Because AutoCAD doesn’t support
Unify Normals—Analyzes the face normals of each animation, the exporter produces objects in a
object and flips normals where necessary, so they static state defined by the current frame set by the
all point out from the center of an object. If the time slider.
imported geometry is not properly welded, or if
If you used layers, instances, or colors to organize have the units of a model in Autodesk VIZ set
objects in the scene, that structure is maintained to millimeters, INSUNITS will be set to 4.
when the model is exported. • MEASUREMENT sets the drawing units either
Exported objects with modifiers assigned to them to English or Metric.
are affected by the current state of the modifier.
For instance, if the Taper modifier assigned to See also
a box is turned off, the exported scene shows a Exporting to DXF Files (page 3–165)
non-tapered box.
Note: Layers created in Autodesk VIZ are not Procedure
exported to AutoCAD. To export a DWG file:
Note: Exporting to an AutoCAD R14 drawing file is 1. Choose File menu > Export.
not supported. If you are working with AutoCAD
2. From the Files Of Type drop-down list, choose
R14, export to 3DS or DXF file format.
AutoCAD (*.DWG).
What to Expect When Opening the DWG 3. Specify a file name to export.
File 4. Set options in the Export to AutoCAD File
When you open an exported drawing in AutoCAD, dialog (described below).
you are presented with an isometric (3/4) view
looking toward the positive XY direction instead Interface
of a Front elevation view.
The isometric view of an exported model opened in

AutoCAD
The exporter also sets two AutoCAD system

variables: Export version
• INSUNITS, Insert Units, sets the drawing-unit Export version—Autodesk VIZ allows you to
value for blocks or images inserted from export to AutoCAD 2007, AutoCAD 2004, or
AutoCAD Design Center. Therefore, if you AutoCAD 2000.
Importing DXF Files 159
The next option lets you choose to export

everything in the current scene or only selected AutoCAD Interchange (DXF)
objects:
• Entire Scene—All objects in the scene are
Files
exported. This is the default setting.
• Selected Objects—Only selected objects are Importing DXF Files
exported. Choosing this is equivalent to using
File > Export Selected (page 3–101). File menu > Import > Select File To Import dialog > Files
Of Type > AutoCAD (*.DXF)
Geometry Options group The DXF file format is the next best method of
Convert Instances To Blocks—Converts instances to getting design data to and from Autodesk VIZ
AutoCAD block insertions. The block definition if using a DWG file is not an option. Most
uses the same name as the first instance converted. commonly, DXF files are used to import and
When turned off, each instance is converted as a export modeling data to and from CAD programs
separate AutoCAD object. References are always that have support for DXF files, but not DWG files.
exported as separate objects.
Importing DXF files uses the same import
Skip Hidden Objects—Toggles export of hidden plug-in that is used for imported DWG files
objects. When on, hidden objects are not (page 3–147). When you import an DXF file, the
exported. software converts a subset of AutoCAD objects to
corresponding Autodesk VIZ objects.
Ignore Extrude Capping—When on, exports shapes
with Extrude modifiers as 2D AutoCAD objects Note: You are no longer asked if you want to
with a thickness property, and ignores the state of Completely Replace Current Scene. If you import
the Cap Start and Cap End parameters. When off, multiple drawings, the importer will merge the
shapes with Extrude modifiers that also have Cap drawings together.
Start or Cap End on are exported as polyface 3D After you select a DXF file to import, the AutoCAD
meshes. Extruded circles, donuts, and rectangle DWG/DXF Import Options dialog is displayed.
objects export as AutoCAD circles, donuts, and Once imported, you are presented with Editable
trace objects with a thickness property. Meshes, Editable Splines and PRS Controllers.
Procedure
To import a DXF file:
2. Choose AutoCAD (*.DXF) in the Files Of Type
list.
3. Specify a file name to import.
4. Set options in the AutoCAD DWG/DXF Import
Options dialog.
5. Click OK to begin importing the model.
Interface Rescale—Allows rescaling of the incoming

geometry by a factor corresponding to the most
common unit type used. The importer will try to
detect the units of the DXF file being imported,
compare those units with the Autodesk VIZ system
units, and provide the appropriate conversion
factor.
For example: if a DXF file is saved using millimeter
units and Autodesk VIZ has its System Units set
to 1.0 inches, the AutoCAD DWG/DXF Import
Options dialog will automatically be set with
Rescale turned on and the Incoming File Units set
to millimeters.
Note: If the units are unspecified in the drawing,
the list will appear blank. In this case, if the
Import button is pressed and the Rescale toggle
is turned on, you are prompted to select a value
for Incoming File Units, and returned to the
AutoCAD DWG/DXF Import Options dialog.
Incoming File Units—A drop down menu where
you can set the scene units.
Geometry panel: Geometry Options group

Combine Objects by Layer—Names each imported
object based on the AutoCAD object’s layer. The
imported object name has a “Layer:” prefix and
is followed by the layer name. For example, an
AutoCAD object on the layer WALLS becomes
Layer:Walls.
Geometry panel: Scale group Create One Scene Object For Each ADT
Object—Architectural Desktop (ADT) objects
Model Size—Incoming geometry is evaluated
are imported as a single object instead of being
to determine its bounding box size. This field
separated into their constituent components. This
displays the scene extents based on three factors:
means that if you import an ADT door object, the
• Incoming File Units door is represented as one object instead of three.
• System Units in Autodesk VIZ Turning on this switch make importing faster and
the scene size is smaller.
• Display Units in Autodesk VIZ
Note: This switch presents several modeling
Note: If the size cannot be determined, the field
concerns that you need to be aware of:
will show (Drawing Extents Not Known).
• Material assignments from ADT are not When Unify Normals is turned off, normals are
translated during the import process. However, calculated according to the face vertex order in the
while the objects themselves do not have DXF file. For instance, face normals for AutoCAD
materials assigned, the materials are imported ACIS solids are already unified. Turn off Unify
and placed on the Scene Unused palette (page Normals when importing ACIS solid models from
3–407). AutoCAD.
• If you want to assign materials to these objects, Cap Closed Entities—Applies an extrude modifier
you’ll have to use Multi/Sub-Object materials. to all closed entities, and turns on the Cap Start
• Depending on the Texture Mapping option and Cap End options of the modifier. The Extrude
you choose, UVW coordinates are translated modifier Amount value for a closed entity with no
correctly. thickness is set to 0. Capping makes closed entities
with thickness appear solid and closed entities
Weld—Sets whether coincident vertices of
without thickness appear flat. When Cap Closed
converted objects are welded according the to Entities is turned off, the Extrude modifier Cap
Weld Threshold setting. Welding smoothes Start and Cap End options for closed entities with
across seams and unifies normals of objects with thickness are turned off. No modifiers are applied
coincident vertices. To use the Weld option, to closed entities without thickness, except for
first turn on Convert To Single Objects, because Circle, Trace, and Solid.
welding occurs only for vertices that are part of
the same object. Texture Mapping—The texture mapping settings
affect the loading time of models that have many
Weld Threshold—Sets the distance that determines
objects with stored UVW Coordinates for texture
whether vertices are coincident. If the distance mapped materials.
between two vertices is less than or equal to the
Weld Threshold, the vertices are welded together. Note: This setting only applies to geometry that
is stored as a mesh in the scene. Spline shapes
Auto-smooth—Assigns smoothing groups marked as renderable have separate controls
according to the Smooth Angle value. Smoothing for UVW coordinate generation on the Spline
groups determine whether faces on an object Rendering panel.
• No Mapping Coordinates—When No Mapping
their edges, creating a faceted appearance.
Coordinates is used, the File Link Manager will
Smooth Angle—Controls whether smoothing not generate texture coordinates for the mesh
occurs between two adjacent faces. If the angle objects that are linked.
between the two face normals is less than or equal When DXF files are imported, objects are
to the smooth angle, the faces are smoothed. added to the scene as Editable Mesh objects
Unify Normals—Analyzes the face normals of each that do not have UVW coordinate assignments.
object and flips normals where necessary, so they Before assigning materials to imported objects,
all point out from the center of an object. If the you’ll need to apply a UVW Map modifier
imported geometry is not properly welded, or if (page 2–274) to add texture coordinates. When
the software can’t determine the object’s center, you then apply the material and the material or
normals might be oriented in the wrong direction. texture map is set to Show Map in Viewport,
Use the Edit Mesh or Normal modifiers to flip the texture map is displayed if the viewport
normals. is set to Smooth + Highlights. If the UVW
Map modifier is not applied, the object turns Lights—Imports lights from the DWG file.
gray and you’ll see a Missing Map Coordinates
Views (cameras)—Imports cameras from the DWG
dialog (page 2–1198) when you render the
file, and converts them to Autodesk VIZ cameras.
scene.
UCSs (grids)—Imports user coordinate systems
This option gives you faster loading speed, but
no UVW coordinate generation. (UCS) from the DWG file and converts them to
Autodesk VIZ grid objects.
• Generate Coordinates For All Objects—This
option forces all objects to have UVW Layers panel
coordinates generated when the DXF file is
imported. This interface is very similar to the Layer Manager
(page 3–364). Layer names remain the same as
This option tells the DWG/DXF Importer to specified in the DXF file.
create UVW coordinates, but loading time
is increased while the coordinate generation
occurs.
Curve Steps—Adjusts how smoothly an arc or
curve appears when the drawing is imported.
Larger numbers result in smoother curves.
Default=10.
Surface Deviation For 3D Solids—Specifies
the maximum allowable distance from the
Autodesk VIZ surface mesh to the parametric
ACIS surface. Small numbers produce more
accurate surfaces with a greater number of faces.
Large numbers produce less accurate surfaces with
fewer faces.
Geometry panel: Include group

This group allows you to toggle the inclusion of
specific parts of a DWG file during the file link
process.
External references—Imports xrefs attached to the
DWG file.
Hatches—Imports hatches from the DWG file.
Skip all Frozen Layers—Excludes the import of
Warning: This stores each line or dot in the hatch AutoCAD objects on layers that are Off or Frozen.
pattern as a separate component of the VIZBlock that
defines the hatch; this can create a very large number of Select from List—Allows you to choose specific
objects in your scene. layer that get imported.
Points—Imports points from the DWG file.

All—The All button is only active when Select from

List is turned on. It quickly lets you select all the
layer in the list.
None—The None button is only active when Select
from List is turned on. It deselects any layers
you’ve selected.
Invert—The Invert button is only active when
Select from List is turned on. Clicking this button
reverses the selection set. Currently selected layers
are unselected and unselected layers are selected.
Layer List—This field displays all the layers that
make up the drawing and shows their status such
as on/off, frozen/unfrozen or locked/unlocked.

The controls on this panel are identical in name
and operation to those found on the Rendering
rollout of an Editable Spline (page 1–261). The
values of these settings are ‘set’ for all imported
shapes. Once the import is complete, you can
change the settings as necessary for each object.
Enable In Renderer—When on, the shape is
rendered as a 3D mesh using the Radial or
Rectangular parameters set for Renderer. In
previous versions of the program, the Renderable
switch performed the same operation.
Enable In Viewport—When on, the shape is
displayed in the viewport as a 3D mesh using the
Radial or Rectangular parameters set for Renderer.
In previous versions of the program, the Display
Render Mesh performed the same operation.
Use Viewport settings—Lets you set different
rendering parameters, and displays the mesh
generated by the Viewport settings. Available only
Autodesk VIZ generates the mapping coordinates

(page 2–1036).
by the Use Real-World Scale settings found in
the applied material’s Coordinates rollout (page Splines rendered at thickness of 1.0 and 5.0, respectively
2–1199). Default=on. Sides—Sets the number of sides (or facets) for
Auto Smooth—If Auto Smooth is turned on, the the spline mesh n the viewport or renderer. For
spline is auto-smoothed using the threshold example, a value of 4 results in a square cross
specified by the Threshold setting below it. Auto section.
Smooth sets the smoothing based on the angle Angle—Adjusts the rotational position of the
between spline segments. Any two adjacent cross-section in the viewport or renderer. For
segments are put in the same smoothing group if example, if the spline mesh has a square cross
the angle between them is less than the threshold section you can use Angle to position a "flat" side
angle. down.
Threshold—Specifies the threshold angle in Rectangular—Displays the spline’s mesh shape as
degrees. Any two adjacent spline segments are put a rectangle.
in the same smoothing group if the angle between
them is less than the threshold angle. Length—Specifies the size of the cross–section
along the local Y axis.
Viewport—Turn this on to specify Radial or
Rectangular parameters for the shape as it will Width—Specifies the size of the cross–section
display in the viewport when Enable in Viewport along the local X axis.
is turned on. Angle—Adjusts the rotational position of the
Renderer—Turn this on to specify Radial or cross-section in the viewport or renderer. For
Rectangular parameters for the shape as it will example, if you have a square cross-section you
display when rendered or viewed in the viewport can use Angle to position a "flat" side down.
when Enable in Viewport is turned on. Aspect—Sets the aspect ratio for rectangular
Radial—Displays the 3D mesh as a cylindrical cross-sections. The Lock check box lets you lock
object. the aspect ratio. When Lock is turned on, Width is
locked to Length that results in a constant ratio of
Thickness—Specifies the diameter of the viewport Width to Length.
or rendered spline mesh. Default=1.0. Range=0.0
to 100,000,000.0.
Exporting to DXF Files 165
• Entire Scene—(The default.) All objects in the

Exporting to DXF Files scene are exported.
File menu > Export > Select File To Export dialog > Save • Selected Objects—When chosen, only the
As Type > AutoCAD (*.DXF) selected objects are exported. Choosing this
option is comparable to using File > Export
DXF files are used to import and export objects Selected (page 3–101).
to and from AutoCAD (and other programs that
support this file format). Geometry Options group
Note: The DXF Exporter can export only Convert Instances To Blocks—Converts instances to
mesh data. Therefore, all shapes and splines AutoCAD block insertions. The block definition
(page 3–731) are exported as mesh objects. uses the same name as the first instance converted.
Consequently, any open splines (which cannot be When turned off, each instance is converted as a
converted to mesh objects) in your scene will not separate AutoCAD object. References are always
be exported. exported as separate objects.
See also Skip Hidden Objects—Exports hidden objects.

When turned off, hidden objects are not exported.
Exporting AutoCAD DWG Files (page 3–157)
Ignore Extrude Capping—When turned on, exports
Interface shapes with Extrude modifiers as 2D AutoCAD
objects with a thickness property, and ignores the
state of the Cap Start and Cap End parameters.
When turned off, shapes with Extrude modifiers
that also have Cap Start or Cap End turned on, are
exported as polyface 3D meshes. Extruded Circles,
Donuts, and Rectangles export as AutoCAD
Circles, Donuts and Traces with a thickness
property.
Autodesk Inventor (IAM,

IPT ) Files
Importing Autodesk Inventor Files

Export version
Export version list—Lets you choose the AutoCAD Of Type > Autodesk Inventor (*.IPT, *.IAM)
version to export. Autodesk VIZ allows you to
export to AutoCAD 2005, AutoCAD 2000, or IPT and IAM are the native Autodesk Inventor®
AutoCAD R12 DXF formats. file formats for parts (IPT) and assemblies
(IAM). You can now import both file formats into
Autodesk VIZ without having to copy scripts from closed and Inventor 10 opened, at least once, in
the install CD. order for you to successfully import Inventor
10 files.
The components of models that you import
into Autodesk VIZ retain their object naming
Material Handling
as assigned in Autodesk Inventor and appear as
editable meshes (page 2–350). Once imported, Materials and material assignments made to the
you can edit the model just as you would any original Inventor model are retained and imported
other type of object that you construct. You can along with the geometry. Materials are imported
apply modifiers, alter materials, add lighting and as Architectural materials (page 2–1157) or if a
cameras, create animations, etc. single object has several materials assigned to it,
they are imported as a Multi/Sub-Object material
Requirements and Limitations (page 2–1182).
In order to be able to import models that originate
Procedures
from Autodesk Inventor, Inventor 8, or later, is
required to be installed along with Autodesk VIZ To import an IAM or IPT file:
on the system. 1. Choose File menu > Import.
At this time, there are some limitations to the 2. Choose Autodesk Inventor (*.IPT, *.IAM) in
Inventor Importer. They are as follows: the Files of Type list.
• Camera animation paths are not converted to 3. Specify a file name to import.
Autodesk VIZ cameras so any animation you’ve 4. Set options in the Autodesk Inventor File
set up in Inventor is lost during import. Import dialog.
• Any lighting from brightness and ambience
settings created in the Inventor file are not
imported. You will have to relight the scene
once the import is complete.
• A model that is set up with constraints to
limit the movement of parts will lose those
constraints upon import. You will need to use
inverse kinematics (IK) (page 2–781) to restore
the constraints.
• Dragging and dropping an Inventor file into
Autodesk VIZ uses the settings last set on the
Inventor File Import dialog with the except for
Mesh Resolution, which always resets to 0.
• Autodesk VIZ uses the last version of Inventor
that was opened to set the Import version. For
instance, let’s say you have both Inventor 8 and
Inventor 10 on your system. If the last version
of Inventor you ran was Inventor 8, you cannot
import Inventor 10 files. Inventor 8 must be
Importing Autodesk Inventor Files 167
Interface Material Options group

Import Inventor Materials—When turned on, all
Inventor materials and texture maps are translated
and imported into the scene. If turned off, no
materials are imported with the model.
Assign Material IDs—Lets you control whether
material IDs are assigned to objects that are
imported from Inventor. You can assign different
materials to different surfaces of the same object
while working in Inventor. When these objects
are imported to Autodesk VIZ, material IDs are
assigned to the faces of single objects to which
multiple materials are applied.
For example, you’ve created a single object that
represents a knob that has a threaded shaft and
you’ve applied a black, plastic material to the
knob and a silver, metal material to the threaded
shaft. If Assign Material IDs is turned on when
you import the model into Autodesk VIZ, the
faces of the object that have the plastic material are
assigned material ID #1 and the faces that have the
metal material are assigned material ID #2. If you
choose to try different materials while working in
Autodesk VIZ, you can quickly make sub-object
selections (page 1–70) based on the material
Merge / Replace Options group IDs or apply a Multi/Sub-Object material (page
Merge With Current Scene—Incoming geometry 2–1182) that contains materials that correspond to
is merged with any existing geometry that is the IDs assigned to the faces.
already present in the scene. This setting is useful
if you have several separate files that contains Mesh Resolution group
components that you want to combine into a single Mesh Resolution—This slider lets you determine
model. the degree of refinement applied to mesh objects
Completely Replace Current Scene—The file you’re
by the importation process. When set to 0 (zero),
importing will completely replace any existing the geometry is imported as it appears in Autodesk
geometry that is in the current scene. If your Inventor. When set less than zero, the mesh is
current scene has not been saved, you are given optimized with fewer faces thus reducing detail.
the opportunity to save your changes to the If the mesh resolution is set higher than zero, the
current scene before the import process continues. mesh is tessellated with more faces, giving you
Default=on. greater detail.
The mesh resolution slider is always set to 0 when
you initiate an import.
Left: Mesh Resolution=–7. Left: Vertical axis set to X.

Center: Mesh Resolution=0. Center: Vertical axis set to Y.
Right: Mesh Resolution=+7. Right: Vertical axis set to Z.
Note: The option to adjust mesh resolution is

available only for models imported from Autodesk
Inventor 10 or later.
Filmbox (FBX) Files
Inventor File Vertical Direction group
This option determines the model’s orientation
upon import. You can choose which axis of the Importing FBX Files
Inventor model is vertical.
File menu > Import > Kaydara FiLMBOX (*.FBX)
X Axis—The X axis of the model, as seen in
Inventor, is rotated so it is vertical when the model FBX is the Kaydara FiLMBOX file format. Kaydara
is imported. FiLMBOX is a system used for the creation,
editing, and blending of motion capture and
Y Axis—The model is imported with the Y axis
keyframe animation. You can import files using
oriented as the vertical axis.
this format.
Z Axis—The imported model is rotated so its Z axis
You can also merge FBX files with your current
is the vertical axis.
scene, to copy new animation onto existing
models. When you merge FBX files into your
scene, only geometry transform data is imported;
the geometry itself is ignored.
Feature Support with FBX Import

Mesh Geometry
Normals are not imported with the FBX file; they
appear randomly flipped in .
Importing FBX Files 169
NURBS Import Type group

NURBS cannot be imported from FBX; dummies Exclusive Merge—Merges the animation on
must be created instead. elements present in both the FBX file being
imported and in the current Autodesk VIZ scene.
Patches
Note: Only animation is transferred in an exclusive
Patches are converted to triangle meshes. merge. Materials are not transferred.
Note: Any object in the FBX file that does not
Interface match an object in the current Autodesk VIZ scene
is not imported to Autodesk VIZ.
Note: Control sets, optical markers, and other FBX
elements are not imported.
Add to New Scene—Imports the elements selected
in the Import Configuration group to a new scene.
Merge—Merges animated elements in an FBX file
onto the corresponding elements in the MAX file.
Import Configuration group

Bones—When on, any bones in your FBX file are
imported. This switch is not available in .
Clicking More opens the FBX Import Advanced
Parameters dialog (page 3–170).
Geometries—When on, all geometry in your FBX
file is imported.
Cameras—When on, all cameras in your FBX file
are imported.
Light—When on, all lights in your FBX file are
imported.
Markers—When on, all markers in your FBX file
are imported.
Shape (Morph Modifier)—When on, all shapes and
Import take window—Some FBX files have more
morphs in your FBX file are imported. This switch
than one animation take for a given geometry.
is not available in .
This window lets you choose the animation to
import to . Animation—When on, all animation in your FBX
file is imported.
If you choose No animation, only geometry will
be imported. Clicking More opens the FBX Import Advanced
Parameters dialog (page 3–170).
Human IK—When on, all IK information in your Interface

FBX file is imported. This switch is not available
in .
Rescale scene’s root node to unit size—Scales the
scene’s root node to match the unit size in your
MAX file.
Y-up to Z-up root node rotation—FBX files use the Y
axis as the ’UP’ direction; however, Autodesk VIZ
uses the Z axis. Turning this on will convert the
axis assignments accordingly.
Reset—Resets all values in the Import dialog to

their defaults.
Ok—Proceeds with FBX import, using the current
settings.
Cancel—Cancels FBX import.
FBX Import Advanced Parameters

Dialog (Animation)
FCurve Filtering Pre-Processing group
File menu > Import > Kaydara FiLMBOX (*.FBX) > Import
FBX File dialog > Click More (next to Animation). Constant Key Reduction Filtering—When on,
any position, rotation, or scale keys which do
The FBX Import Advanced Parameters dialog not change during an animation are removed
for animation lets you specify how animation during the Import process to reduce file size and
behavior is imported to Autodesk VIZ. complexity.
Gimble Lock Killer Filtering—When turned on, the
animation curve of the FBX file is not converted to
quaternion values, but remains using Euler values.
Use this control if the animation behavior curve
differs from expected results.
XYZ FCurve Synchronization Filtering—In cases
where an animation key is on one axis, but not the
other two, Autodesk VIZ will create keys on the
other axes when this is turned on.
Exporting FBX Files 171
Matricial Conversion Consequences group Note: If any primitives are missing from the
morph channel when exporting, a dialog
Resampling Rate—Sets the rate at which animation
appears to warn you.
will be sampled in the imported file.
OK—Accepts all changes and closes the dialog. Textures
• All mapping types are exported as a UV Map.
Exporting FBX Files • Only the Diffuse channel of a material is
exported.
File menu > Export > Kaydara FiLMBOX (*.FBX)
Patches
FBX is the Kaydara FiLMBOX file format. Kaydara
Patches are converted to triangle meshes.
FiLMBOX is a system used for the creation,
editing, and blending of keyframe animation. You
Interface
can export Autodesk VIZ files to this format.
Note: Softimage and Maya also export to the FBX
format, making it a bridge between the three
applications.
Feature Support with FBX Export

Mesh Geometry
• When exporting mesh geometry, polygons are
exported as triangles.
• Normals are not exported by default; they are
computed automatically in FiLMBOX.
• All mapping types are exported as a UVW Map.
NURBS
• Exporting NURBS to FBX creates different
NURBS nodes for NURBS components.
Note: NURBS geometry with several
components (trims, caps, and so on) are
exported as a hierarchy of nodes named after
the Autodesk VIZ NURBS node using their
component name as a suffix.
• Export of morphing is supported, but the
NURBS morph primitives must still exist at the Export group
time of export.
Geometries—When on, exports all geometry in
your scene.
Support normal per polygon vertex—When on, Portable Format ( TIFF)—When on, stores bitmaps
normals are exported to your FBX file on a used in materials in a baseline TIFF format, which
per-polygon basis. is highly portable.
Cameras—When on, all cameras in your scene are Reset—Resets all values in the Export dialog to
exported. their defaults.
Lights—When on, all lights in your scene are Ok—Proceeds with FBX export, using the current
exported. settings.
Geometries used as bones, exported as Cancel—Cancels FBX export.
bones—When on, objects that are used as bones
will be exported as bones.
Shape (Morph Modifier)— When on, any morphing
information in your scene is exported. This switch
is not available in Autodesk VIZ. IGES Files
Skins (Skin Modifier and Physique)—When turned
on, any skin or physique information in your Overview of IGES in Autodesk VIZ
scene is exported.This switch is not available in
Autodesk VIZ. The Initial Graphics Exchange Specification
(IGES) is an ANSI standard that defines a
Animation—When turned on, any animation in neutral form for the exchange of information
your scene is exported. among dissimilar computer-aided design (CAD),
computer-aided manufacturing (CAM), and
Misc group computer visualization systems. The software
Resampling Rate—Lets you specify a sampling rate implements the IGES standard for translating files
for controller-based and coordinate-interpolated between Autodesk VIZ and IGES file formats used
animation, as well as the Flip-Book output rates. by the mechanical engineering and entertainment
industries. Using the IGES import/export feature,
Setting the resampling rate lets you trade off you can read in and write out native NURBS (page
between animation fidelity and file size. The 3–705) data between Autodesk VIZ and programs
default values give good results in most cases. such as Mechanical Desktop release 3.0, Maya™,
For the greatest animation precision, use a lower Pro/ENGINEER®, SOFTIMAGE®, CATIA®, and
number (a higher sampling rate). others. For complete details on the IGES standard,
Constant Key Reduction Filtering—When on, any see The Initial Graphics Exchange Specification
position, rotation, or scale keys that do not change (IGES) Version 5.3.
during an animation are removed during the
export process to reduce file size and complexity. What IGES Translates
Show Warnings—When on, you are alerted to any The ideal file translation preserves the appearance
export errors. and functionality of objects (called entities in
IGES) contained in a file. This process has limits.
Embed textures in export file—When on, all You should be aware that some Autodesk VIZ
materials in your scene will be embedded in the objects are not supported or not fully supported by
exported FBX file.
Overview of IGES in Autodesk VIZ 173
IGES. Similarly, be aware that some IGES entities Procedure

are not supported by the software. For example, To make rigid imported NURBS surfaces
you can’t translate animation data and mapping independent:
coordinates, as these elements are not supported
1. Select the object.
by IGES.
As with all translations, concepts that can be 2. Go to the Modify panel.
expressed succinctly in one language might
3. In the Modifier Stack rollout, choose Surface
not have exact equivalents in another language;
as the sub-object level.
conversely, concepts common to two languages
might be expressed differently by each. 4. Select the surface sub-object you want to edit.
Even when the objects you translate don’t have 5. In the Surface Common rollout, click Make
an equivalent in the target system, a one-time Independent.
translation to or from IGES might not pose a Note: Making rigid imported NURBS surfaces
serious problem. However, data loss can become independent can take a long time if there are
a concern if you maintain objects that will be complicated surfaces in the file, or if the file
repeatedly translated in and out of different is large. Avoid selecting all surfaces and then
formats through IGES. By becoming familiar clicking Make Independent. Rather, save your
with the details of the systems and the IGES file immediately after successfully importing it,
translators you use, you can learn to structure files and then use Make Independent with care.
to minimize information loss.
Warning: The conversion of objects during translation
Future Compatibility
is not fully symmetrical. If you import an IGES file that The group that maintains and updates the IGES
you created by exporting to IGES, the resulting objects standard, the IGES/PDES (Product Data Exchange
might not be identical to the original. Standard) consortium, attempts to keep IGES
upwardly compatible. It’s likely that files generated
NURBS by the software will be compatible with future
When you import an IGES file into the software, versions of IGES.
IGES meshes are converted to NURBS (page
2–443) surfaces, rather than to Autodesk VIZ History of IGES
mesh objects. An IGES file with multiple meshes The first version of IGES was developed in 1980
imports as a single NURBS model. Each IGES in response to demands from government and
mesh is a surface sub-object within the model. industry for a neutral file format. In 1981, IGES
Each surface sub-object based on an IGES mesh is was approved as an ANSI standard. Since then,
initially a rigid surface (page 2–454). To edit the many enhancements have been made, including
surface and its CVs (page 3–667), you must first the significant additions listed in the following
make the rigid surface independent. The following table.
procedure explains how to do this. IGES Date Added features
version
1.0 1980 Mechanical 2D and 3D drawings
IGES Date Added features Autodesk VIZ file name, with the extension of .xli
version (input) for import, and .xlo (output) for export.
2.0 1983 Sculptured surfaces, rational B-splines,
finite elements, and electrical drawings The log file provides the following information:
3.0 1986 Manufacturing AEC (architecture, • Name of the file processed.
engineering, and construction), and
piping drawings • Number and severity of errors encountered,
a description of them, and an explanation of
4.0 1988 CSG (constructive solid geometry)
solids what can be done, or what was done to the data
in error. (The software attempts to fix many
5.0 1990 Primarily consolidation and
rationalization of existing formats errors itself.)
to improve the quality and robustness
of existing entities
• Summary of entities processed.
5.1 1991 Boundary-representational (B-rep) • List of the entity types encountered and those
solids created.
5.2 1993 European character set and several
clarifications; published as an ANSI See also
standard
Overview of IGES in Autodesk VIZ (page 3–172)
5.3 1996 Unbounded Lines (110:1 and 110:2),
several new Properties (406), and Autodesk VIZ to IGES Export Table (page 3–177)
further clarifications. Year 2000
compliance Exporting IGES Files (page 3–176)
IGES to Autodesk VIZ Import Table (page 3–175)
See also
Autodesk VIZ to IGES Export Table (page 3–177)
Importing IGES Files
IGES Log Files (page 3–174)
File menu > Import > IGES (*.IGE, *.IGS, *.IGES)
Importing IGES Files (page 3–174) IGES files are used to import and export NURBS
objects to and from Autodesk VIZ (and other
programs that support this file format). For
IGES Log Files more information, see Overview of IGES in
Autodesk VIZ (page 3–172).
During the translation process, the software creates
log files containing detailed information about In some cases, when you import an IGES file, the
the processing of the model. This information translation doesn’t produce exact replicas. To
includes error messages and entity-mapping understand what happens to each entity when it’s
statistics. You can use this log file to understand translated, review the IGES import table (page
what occurred during the translation. 3–175).
The software places log files in the directory where Autodesk VIZ imports an object containing
the IGES file is either imported from or exported multiple surfaces as a single NURBS object. To
to. The log file name has the prefix name of the work with a single surface of the object, detach it in
IGES to Autodesk VIZ Import Table 175
sub-object NURBS and work with only that object. 4. To review the translation process, read the .xli
This releases the rest of the object from memory. log file with your preferred text editor.
For more information, see NURBS (page 3–173).
Interface
When you import IGES files, Autodesk VIZ creates
a log file containing detailed information about the
processing of the model. The name of the file has
the form of filename.xli. For more information,
see IGES Log files (page 3–174).
Note: Autodesk VIZ creates and uses a few
temporary files during translation. Temporary
files can be large. If there has been a computer
or IGES translation failure and temporary files
remain on your system, they might need to be
removed to free up disk space. For storage of these
temporary files in Windows, Autodesk VIZ uses
IGES Import
the directory specified by the TEMP environment
variable, or the current directory if TEMP is not The IGES Import dialog has the following controls:
set. Merge objects with current scene—Merges
imported data with the current scene.
See also
Completely replace scene—Completely replaces the
Autodesk VIZ to IGES Export Table (page 3–177) current scene with the imported data.
IGES to Autodesk VIZ Import Table
The following table lists IGES entities and the
Importing IGES Files (page 3–174) Autodesk VIZ objects they translate to when you
import them. Any IGES entities not listed here do
Procedure not import.
To import an IGES file:
IGES entity IGES entity name Autodesk VIZ
2. Specify the IGES file to import from the file number
selector dialog. 100 Circular Arc Arc Shape
You can choose IGES (*.IGE, *.IGS, *.IGES) 102 Composite Curve Spline Shape
from the Files Of Type list to display only IGES 104 Conic Arc Spline Shape
files.
106 Copious Data Spline Shape
3. From the IGES Import dialog, select Merge
Objects With Current Scene or Completely
Replace Scene.
IGES entity IGES entity name Autodesk VIZ IGES import supports name and color mappings
number to Autodesk VIZ names and colors.
108 Plane NURBS Surface
(unbounded When you import IGES files, names are mapped
converts to by using the level name followed by a colon, and
construction then the object name.
plane)
110 Line Spline Shape See also
112 Parametric Spline NURBS Curve
Curve Autodesk VIZ to IGES Export Table (page 3–177)
114 Parametric Spline NURBS Surface Exporting IGES Files (page 3–176)
Surface
116 Point Point Helper
118 Ruled Surface NURBS Surface IGES to Autodesk VIZ Import Table (page 3–175)
120 Surface of NURBS Surface Importing IGES Files (page 3–174)
Revolution
122 Tabulated Surface NURBS Surface
126 Rational B-spline NURBS Curve Exporting IGES Files
Curve
File menu > Export > IGES (*.IGS)
128 Rational B-spline NURBS Surface
Surface
IGES files are used to import and export objects to
130 Offset Curve NURBS Curve
and from Autodesk VIZ (and other programs that
140 Offset Surface NURBS Surface support this file format). For more information,
141 Boundary Curve NURBS Surface see Overview of IGES in Autodesk VIZ (page
142 Curve on
3–172).
NURBS Surface
Parametric
Surface
In some cases, when you export Autodesk VIZ
objects to an IGES file, the translation doesn’t
144 Trimmed NURBS Surface
Parametric
produce exact replicas. To understand what
Surface happens to each object when it’s translated, review
143 Bounded Surface NURBS Surface the IGES export table (page 3–177).
186 Solid NURBS Surface When you export IGES files, Autodesk VIZ creates
308 Subfigure Instance
a log file containing detailed information about the
Definition processing of the model. The name of the file has
402 Group NURBS Object
the form of filename.xlo. For more information,
see IGES Log files (page 3–174).
Note: If there are modifiers applied to surfaces in
your scene, it’s best to collapse the stack before
Notes exporting to IGES. When Autodesk VIZ exports
The Autodesk VIZ objects translated from IGES to an IGES file, it skips any surface that has any
can have surface sub-objects. modifiers applied.
Autodesk VIZ to IGES Export Table 177
See also Export Hidden Objects—Exports objects that are

currently hidden in the Autodesk VIZ scene.
Autodesk VIZ to IGES Export Table (page 3–177)
Export Selected Objects Only—Exports only objects
that are currently selected.
Autodesk VIZ to IGES Export Table
Overview of IGES in Autodesk VIZ (page 3–172)
The following table lists Autodesk VIZ objects and
Procedure the IGES ID and IGES Type they translate to when
you export them. Any Autodesk VIZ objects not
To export an IGES file:
listed here do not export.
1. Select the objects to export.
Note: The convention for denoting the type of IGES
2. Choose File menu > Export. entity is the numerical construction type:form.
3. Choose IGES (*.IGS) from the Save as type list For example, 214:2 is the IGES entity number 214,
in the file selector dialog. form 2. Form numbers can also be signed (given a
positive or negative value).
4. Specify a file name to export.
Autodesk VIZ IGES entity name IGES entity
5. Click Save.
object number
6. From the IGES Export dialog, select Export Surface Rational B-spline 128
Hidden Objects or Export Selected Objects Surface
Only. NURBS Surface Bounded Surface 143
7. To review the translation process, read the .xlo Trimmed Surface Bounded Surface 143/144
log file with your preferred text editor.
Curve Rational B-spline 126
Curve
Interface Point Point 116
Group Group 402:7
Instance Subfigure 308
Definition
Instance(s) Subfigure 408
Definition(s)
Notes
When Autodesk VIZ exports IGES, it supports
name and color mappings to IGES names and
colors.
IGES Export Since IGES requires unique names per element,

Autodesk VIZ will append a unique identifier to
The IGES Export dialog has the following controls: multiple objects with the same name.
See also Overall Workflow for Exporting a

Lightscape Preparation (LP) File
1. Select the object to be exported (page 3–184).
2. Open the Export Lightscape Preparation File
IGES to Autodesk VIZ Import Table (page 3–175) dialog (page 3–192).
Importing IGES Files (page 3–174) 3. If your scene uses standard lights (page 3–180),
Overview of IGES in Autodesk VIZ (page 3–172) set the units and scale, and then set the light
conversion method.
4. If you are exporting an animation (page 3–185),
select the frames to be exported.
5. If your scene uses daylight (page 3–183), set the
Lightscape Files daylight parameters.
6. Select the cameras to be exported (page 3–184).
7. Export the file (page 3–178).
Exporting Lightscape Files See also
You can export your Autodesk VIZ scenes Creating Geometry for Lightscape (page 3–179)
to Lightscape. Lightscape is a visualization Creating Materials for Lightscape (page 3–179)
application that uses radiosity and ray tracing to
create accurate lighting for 3D models.
Grouping Geometry for Lightscape (page 3–180)
You can export several Lightscape file formats from

Exporting Standard Lights (page 3–180)
Autodesk VIZ. The Lightscape Preparation (*.lp) Exporting Daylight to Lightscape (page 3–183)
(page 3–192) file is the main format Lightscape
Selecting Objects to Be Exported (page 3–184)
uses. Other Lightscape file formats save selected
portions of the information in the LP file. These Exporting Camera Views (page 3–184)
are the additional Lightscape file formats:
Keeping Your Original Autodesk VIZ Materials
• View file (*.vw) (page 3–201): Exports the (page 3–184)
active view, or selected camera views.
Using Relative Paths with Block and Material Files
• Block file (*.blk) (page 3–203): Exports (page 3–185)
materials, lights, and geometry. Blocks in
a block file can be selectively loaded into Exporting Animations (page 3–185)
Lightscape. How Autodesk VIZ Objects Are Converted to
• Material file (*.atr) (page 3–208): Exports Lightscape (page 3–189)
materials.
• Layer file (*.lay) (page 3–208): Exports layers. Procedures
To export a Lightscape file:
• Parameter file (*.df) (page 3–209): Exports
processing parameters. 1. Choose File > Export.
Creating Geometry for Lightscape 179
The Select File To Export Dialog is displayed. groups to reduce the number of faces needed
for smooth surfaces.
• Lightscape calculates radiosity only for the
front side of a face. Check face normals of the
geometry. Lightscape’s Orientation option
offers convenient methods for changing a
surface’s orientation.
• If you plan to use daylight in an interior scene,
create surfaces for areas that will be windows or
openings in Lightscape. In order to allow light
to flow through them they must be placed in an
2. Use the Save As Type list to choose which kind opening in the geometry, not on a continuous
of Lightscape file format you are exporting. surface. These surfaces should fill the opening
3. Use the Save In list to navigate to the appropriate in the geometry. Since the exporter uses
directory. material assignments to mark windows and
openings, these surfaces can be faces within
4. In the File Name field, enter the name of the file
more complex geometry.
that you want to create, and then click Save.
• You should model transparent objects that have
To get version information about the Lightscape a refractive index greater than 1 so that they
exporter: are physically valid. For example, you should
1. Export one of the Lightscape file types.
model a pane of glass as two surfaces separated
by the correct distance.
A dialog with options for that file type is
displayed. • Before exporting, make sure your units are
properly set. If your scene uses photometric
2. Click About. lights, this is probably the case. If your scene
An About dialog is displayed. The dialog shows uses standard lights, realistic units might
the version of the Lightscape exporter. differ from your viewport settings. You can
choose Customize > Units Setup to find what
units your model has. Make this correspond
Creating Geometry for Lightscape to the units in which you will export your
model. Because Lightscape is a physically
These are guidelines for creating geometry that
based lighting renderer, it is essential that you
will export to Lightscape in a way that will generate
export a scene with physically accurate units to
a good radiosity solution:
obtain accurate lighting results. See Exporting
• Avoid overlapping surfaces, and do not use Standard Lights (page 3–180).
double-sided materials.
• Assign mapping coordinates to geometry that
will use a textured material. Creating Materials for Lightscape
• Try to keep polygon count to a minimum. Use These are guidelines for creating materials to
the Optimize modifier and use smoothing export to Lightscape. In general, Lightscape
materials are less complex than materials in • Material files (*.atr) can be exported to
Autodesk VIZ. Lightscape. Selected materials or all the
• Only the diffuse texture gets imported into materials in a scene can be exported this way.
Lightscape, so there is no need to set up other Texture mapping alignment is not saved in
texture maps. Other mapping types can be Material files.
applied after the solution file is imported back
into Autodesk VIZ.
Grouping Geometry for
• The diffuse color corresponds to the reflective
Lightscape
color in Lightscape.
• Glossiness corresponds to the shininess of the These are guidelines for grouping geometry so it
material in Lightscape. will export well to Lightscape:
• Opacity corresponds to the transparency of the • Group or attach geometry you want to come
material in Lightscape. into Lightscape as blocks. When exporting, you
can create blocks for every object and group
• Tiling information is exported, but mirrored in the scene.
and clipped textures are not supported by
OpenGL display in Lightscape. They can be • If a light has a geometric fixture, group the
seen only by using the ray tracer. fixture with the light. This will allow you
to move the light and fixture together in
• The index of refraction is imported into Lightscape.
Lightscape.
• You can export layers by material, group,
• For accurate radiosity processing, it is instance, or for each object in a scene. These
important to set the correct HSV Value of the options are available when exporting a
material. The Value controls the maximum Lightscape Preparation file (*.lp), a Lightscape
reflectance of the surface. If it is set too high, the Block file (*.blk), or a Lightscape Layer file
solution looks washed out and processing time (*.lay).
increases significantly. Refer to the Lightscape
Tip: Exporting layers by instance makes it easier
User’s Guide for more information on how to
set material properties. to import the solution back into Autodesk VIZ.
• If you are creating surfaces for openings (See

Creating Geometry for Lightscape (page Exporting Standard Lights
3–179)), then create a transparent material for
these surfaces. This material should not be used Lightscape lights (luminaires) are always
for any other surfaces in the scene. photometric. If your Autodesk VIZ scene uses
only photometric lights, then exporting lights has
• In Lightscape, windows allow daylight to pass
few options. If your scene uses standard lights,
through. If your scene has windows, make sure
on the other hand, you need to set options for
that the materials you use on the windows in
converting their settings to realistic lighting levels.
your scene are not used for other surfaces.
Materials assigned to windows should not be Controls for standard light export are in the
completely opaque. Standard Lights group of the Lights panel (page
• Check texture alignment and tiling by viewing 3–195) on the Export Lightscape Preparation File
your textures in the viewport.
Exporting Standard Lights 181
dialog, with additional controls in the Luminaire There are three ways to convert standard light
Processing group. intensities for Lightscape. Each method is useful
for different types of lighting. These are described
in the sections that follow.
Scenes Where Exact Light Intensities Are

Important
These are scenes where you are using
Autodesk VIZ to build a model, but you don’t
require Autodesk VIZ to render the lighting well.
If exact intensities are important, using
photometric in your Autodesk VIZ scene is the
best solution. But if your scene contains standard
lights, you can follow these steps:
1. Find the intensity, in candelas, of the brightest
light you will place in your model.
2. As you create each light, set its Multiplier to
the ratio of the intensity of the light and the
Tip: Use cloning to create light instances whenever intensity of the brightest light.
possible. Instanced and referenced lights will be
3. When you export the model, choose Maximum
exported as the same Lightscape luminaire, which
makes adjusting the lights in Lightscape much Light Intensity Scale and set the intensity value
easier. to the intensity of the brightest light. The lights
imported into Lightscape will have the exact
The Autodesk VIZ standard light’s color intensities you require.
corresponds to the Lightscape color filter.
The shadow parameters Cast Shadows and Use Scenes Where You Want the Lightscape
Ray-Traced Shadows correspond to the Lightscape Model to Appear as Close as Possible to
luminaire-processing parameters Cast Shadows
the Rendered Scene
and Ray Trace Direct Illumination, respectively. These are scenes where exact light intensities are
not important.
If the Autodesk VIZ light is On, Lightscape will
not store direct illumination for the light in the Follow this step:
radiosity solution. This allows Autodesk VIZ • When you export the model, either choose
to apply the direct lighting after importing the Light Intensity At Distance and enter the
solution back into Autodesk VIZ. average distance between lights and the surfaces
You can choose to customize the Cast Shadows, they illuminate, or select Average Target
Raytrace Direct Illumination, and Store Direct Distance if your lights are mostly targeted
Illumination settings by choosing Override Light spotlights. This will match the brightness of
Object Settings. your lights at the selected distance, and will give
an overall effect similar to Autodesk VIZ.
Scenes with Lights Imported from

Lightscape Solution (LS) Files
In scenes with lights imported from Lightscape
Solution (*.ls) files, as well as scenes that use
photometric lights, should already have physically
correct lighting. This method also works in scenes
where you have used standard lights with range
attenuation to simulate physical lights.
Note: If you import a Lightscape Solution (LS)
file but turn off Make Lightscape Lights, lights
are imported as standard lights. However, the
imported lights will have physically correct
attenuation settings.
Follow these steps:
1. For lights that do not use range attenuation,
use either of the methods described in the
preceding sections.
2. When you export the model, make sure Use
Attenuation is turned on. This will cause a Set Master Units to the units used by Autodesk VIZ.
different intensity estimate to be used for lights To find what units are current, choose Customize
that use range attenuation. > Units Setup. The Units Setup dialog shows
which units are used by the scene.
If your scene does not use realistic units, adjust the
Setting Units and Scale value of Scale Factor so the scene will be exported
If your scene was not created at a realistic scale, at the correct size.
you need to specify scaling that Lightscape will be
The Model Size displayed immediately below
able to use.
Scale Factor can help you choose the correct
Note: If your scene uses photometric lights, the scale. Model Size shows the dimensions of the
scaling should already be correct, so leave Scale scene geometry, not including cameras or lights.
Factor set to 1, but be sure to choose the correct Increasing the scale factor makes the model
units. larger, and decreasing it makes the model smaller.
The controls for setting units and scale are on Because Lightscape is a physically based renderer,
the General panel (page 3–193) of the Export it is essential that you export the original scene
Lightscape Preparation File dialog. with dimensional accuracy to obtain accurate
lighting results.
Exporting Daylight to Lightscape 183
location on the earth, the date, and the time.

Exporting Daylight to Lightscape Lightscape will calculate the position and
Controls for exporting daylight are in the Daylight brightness of the sun.
panel (page 3–198) of the Export Lightscape 3. Set the sky coverage to Clear, Partly Cloudy,
Preparation File dialog. or Cloudy. Turn on Use Light to use the
brightness of the selected light to calculate the
sky coverage.
4. If you don’t indicate that the scene is Exterior,
you will need to select windows and openings
to allow daylight to enter the scene. Use the
Windows panel (page 3–199) to do this.
To export daylight:
1. If you have simulated sunlight using a
Autodesk VIZ light, use the Light list to choose
its name. If the light is a directional light,
spotlight, skylight, or IES Sky light, Lightscape
will calculate the daylight parameters that 5. Use the Windows panel to select the materials
match the direction of the sun based on the that are assigned to Windows in the scene. To
direction of the chosen light. work correctly in Lightscape, these materials
Note: If you want to force the sun in Lightscape should not be assigned to other kinds of
to have the same brightness as the selected objects. Use SHIFT+click or CTRL+click to
light in Autodesk VIZ, check Override Solar select multiple materials if needed.
Luminance. This will use the brightness of the 6. Use the Windows panel to select the material
light to override the calculated brightness of the that is assigned to openings in the scene. To
sun. work correctly in Lightscape, this material
2. If no light in the scene simulates sunlight, leave should not be assigned to other kinds of objects.
the Light field blank, and enter the scene’s
To export additional camera views:

Selecting Objects to Be Exported 1. In the Export Lightscape Preparation File dialog
When you are exporting a Preparation file, Block or the Export Lightscape View File dialog, click
file, Material file or Layer file to Lightscape, you the Views tab to go to the Views panel.
can export either the entire Autodesk VIZ scene, 2. Select the name of a camera whose view you
or just selected objects. want to export.
If you want to export only selected objects, first The name of the new VW file is displayed in
select the objects to export, then choose Export the Save To File field. By default, this is the
Selected from the File menu. You can also choose camera name with the .vw file name extension
Export from the File menu, then enable Selected appended. You can enter a different path or file
Objects in the Export dialog. name to change the default.
3. Use SHIFT+click or CTRL+click to add or
remove cameras from the selected list.
Exporting Camera Views
When you export to Lightscape, the active view is
saved in the Lightscape Preparation (*.lp) file or Keeping Your Original
View (*.vw) file. You can also export additional Autodesk VIZ Materials
camera views. Each additional view is saved in a
If you export a Autodesk VIZ model to Lightscape
separate VW file.
and calculate a radiosity solution, you can have
the importer use your original Autodesk VIZ
materials when you import the solution back into
Autodesk VIZ.
Do this when you export your scene:

• After you have exported you scene, be sure to
save the Autodesk VIZ scene. The exporter
tags the exported materials. If the scene is not
saved, the importer will not be able to find the
materials it needs to use.
Follow these steps when you import your scene:

1. Before importing the Lightscape solution, open
the Autodesk VIZ scene that was exported to
create the solution.
2. Make sure the Replace Scene Contents and
Keep Original Materials options are turned on.
3. Set the other options you want to use.
4. Click OK to import the scene.
Using Relative Paths with Block and Material Files 185
Note: If the importer cannot find the 7. Select File > Parameters > Load, and load the
Autodesk VIZ material from which a file you created in step 4.
Lightscape material was created, it will create a 8. Now you can load the blocks or materials from
new Autodesk VIZ material. the exported file.
Using Relative Paths with Block Exporting Animations

and Material Files
You can select multiple frames to be exported
The exporter will write texture file names as in multiple Lightscape Preparation (*.lp) files.
relative or absolute paths. When using relative Lightscape provides batch utilities to process
paths, directories are added to the texture path list and render the files to produce animations. This
in the Preparation file so Lightscape can find the technique is expensive, and should be used only
textures. Block (BLK) and Material (ATR) files do when you need to animate color bleeding and
not have path information in them. Follow theses indirect lighting effects between moving objects.
steps to get the path list from the exporter into See the Animation panel (page 3–197) in the
Lightscape when you want to use relative paths Lightscape Export Preparation File dialog.
with Block and Material files:
1. Open Autodesk VIZ and load the scene you will Animating Multiple Frames in Lightscape
use to export the Block or Material file. The Lightscape exporter is able to output
2. Access the Export Lightscape Block File dialog Lightscape Preparation files for multiple frames.
(page 3–203) or the Export Lightscape Material You can process these files through Lightscape’s
File dialog (page 3–208). Turn on the option batch utilities to produce animations.
Relative Texture Paths, and set the other options
The process is described in these procedures:
as desired. Click OK to save the Block or
Material file. • To animate daylight: (page 3–186) How to set
up your scene to animate daylight in Lightscape.
3. Access the Export Lightscape Parameter File
dialog (page 3–209) to export a Lightscape • To animate views: (page 3–186) How to set up
Parameter (DF) file. Turn on the option your scene to animate your view in Lightscape.
Texture Path From Files, set the other options • To set up lights and daylight: (page 3–186) How
as needed, and then click OK. to set your lights for the best results.
4. In Lightscape, open the model you want to • To export animated objects: (page 3–186)
load blocks or materials into. Select File > The exporter exports multiple Lightscape
Parameters > Save, and save the parameters Preparation files, one for each frame of the
for the model. Do not overwrite the file you animated objects.
created in step 3.
• To export nonanimated objects: (page 3–187)
5. Select File > Properties, and click the Paths tab. The exporter exports a single preparation file
Delete all of the directories from the path lists. containing the objects that are not animated.
6. Select File > Parameters > Load, and load the This file is merged with the animated objects
file you created in step 3. during Lightscape processing. This reduces
the disk space requirements and speeds up the
export process.
• To export parameters: (page 3–187) Processing shadows on, and choose Advanced Ray Traced
parameters are saved for the scene. as the shadow type. If the light does not need to
• To override parameters: (page 3–187) Here be ray traced, turn the light off, turn shadows
you use a sample frame to set the processing on, and choose Shadow Map as the shadow
parameters for the radiosity simulation. type. If different instances of a light need
different settings, you will need to make a copy
• To batch-process the LP files: (page 3–188) of the light.
This step merges the non-animated objects, the
animated objects, and the parameter files from Note: When a light is turned off in
the previous steps. The merged file is processed Autodesk VIZ, its illumination is stored in the
and images for each frame are created. Lightscape mesh when radiosity is solved. That
way, if it is imported back into Autodesk VIZ,
• To create the animation: (page 3–188) The the light remains off, and the illumination
images created in the previous step are put comes from the radiosity mesh.
together into an AVI or MPEG animation.
To export animated objects:
Procedures
1. Select the geometry in your scene that is being
To animate daylight: animated. Geometry should be selected if it is
1. To animate daylight, you must animate a light moving or one of its materials is changing.
that follows the path of the sun. Use a Sunlight You don’t need to select nonanimated geometry,
or Daylight system. even if it’s illuminated by an animated light.
2. Set the light color to the color you want for the Tip: Make a named selection set of the objects
sun. you select in this step and the following one.
3. When you export the animated objects you will Then you can invert this selection to export
select the animated light on the Daylight tab. nonanimated objects. See the following
procedure (page 3–187).
To animate views:
2. Select the lights in your scene that are being
• To animate your view, simply make sure that animated. Lights should be selected if they are
the active view is using an animated camera. moving, or any of their parameters, such as
brightness and color, are changing.
To set up lights and daylight:
If you are animating daylight, you need to select
When solving multiple Lightscape solution files the light you are using to simulate daylight.
for animation, the settings of lights and daylight
If you plan to use the Lightscape utility lsray to
are important for good results and performance.
render the output, and you want to ray trace
1. Do a preview of your animation in direct illumination, make sure your lights are
Autodesk VIZ. Lights and daylight that are turned on, and that their shadow type is set to
moving or cast moving shadows need to be ray Advanced Ray Traced.
traced during the rendering of the animation.
3. Access the Export Lightscape Preparation File
Other lights don’t need to be ray traced, and ray
tracing them will slow down processing.
4. Choose the Selected Objects radio button.
2. In Autodesk VIZ, select each light. If the light
needs to be ray traced, turn the light on, turn
Exporting Animations 187
5. Set the other parameters in the General panel 2. Access the Lightscape Parameter File Export
as you normally would. dialog (page 3–209). Use the same file name
6. Click the Animation tab. In the Animation you used for the animated objects.
panel (page 3–197), enter the range of frames 3. If you didn’t export all of the objects in your
you want to export. scene, choose the Selected Objects radio button.
7. If you are using daylight, click the Daylight tab, 4. Set the other parameters as you normally
and in the Daylight panel (page 3–198) set the would.
daylight parameters.
Important: Make sure the units are the same as
8. Don’t forget to set up windows and openings in when you exported the animated objects.
the Windows panel (page 3–199), if your scene
5. Click OK. This exports the parameters to be
makes use of these.
used for processing in a Lightscape Parameters
9. Click OK. This will export the animated objects (DF) file.
by creating a Lightscape Preparation file for
each frame in the scene. To override parameters:
1. Start Lightscape.
To export nonanimated objects:
2. Open the Lightscape Preparation file that
1. Retrieve the selection of animated objects, then
contains the nonanimated objects.
choose Edit > Select Invert. This selects all of
the objects that are not animated. 3. Open one of the Lightscape Preparation files
containing the animated objects. On the Open
2. Use CTRL+click to remove objects you don’t
File dialog, turn on the Append check box.
want to export from the selection set.
4. Choose File > Parameters > Load, and load the
3. Access the Export Lightscape Preparation File
parameter file you exported.
dialog (page 3–192). Use the same name you
used for the animated objects. (This won’t 5. Use the Parameter Wizard or adjust the
overwrite the original LP file, because sequence processing parameters manually. Initiate the
numbers will be appended to the file name.) radiosity solution. When asked, do not save
the Lightscape Preparation file. Process the
4. Choose the Selected Objects radio button.
solution.
5. Set the other parameters in the General panel
6. Continue adjusting parameters, resetting, and
as you normally would.
processing until you are satisfied. Try to get 15
Important: Make sure the units are the same as percent of initial energy, or less, still unshot (at
when you exported the animated objects. least 85 percent of the initial energy should be
6. Click OK. This will export the nonanimated distributed).
objects in a Lightscape Preparation file. 7. Choose File > Parameters > Save As, and save
the parameters over the DF file you exported.
To export parameters: You do not need to save the solution file.
1. If you didn’t export all of the objects in 8. Select Process > Statistics, and make a note of
your scene, select all of the animated and the number of iterations Lightscape needed.
nonanimated objects you did export.
To batch-process the LP files: preparation files exist and where solution files
To process the Lightscape Preparation (LP) files, and image files will be created.
you must run a batch file to process all of the 6. You can change IMAGETYPE to change the
frames. The name of this file is lsanim.bat. By file type for the image files. For example
default, it is installed in the \bin subdirectory of IMAGETYPE=tga will output Targa files.
the directory where Lightscape is installed. 7. Create a batch file that calls lsanim for each
Note: If you installed Lightscape after installing frame being processed. The line should look
Autodesk VIZ, you can find lsanim.bat in the same like this:
directory where Autodesk VIZ is installed. Note: See the online User Reference to view this
1. You might want to copy and edit the beginning code.
of lsanim.bat, to set parameters and give the
Important: If a frame number has fewer than four
paths to the batch utilities. The beginning of
digits, pad the number with leading zeros to make
lsanim.bat looks like this:
it four digits long.
Note: See the online User Reference to view this
8. Run the batch file.
code.
2. Open a command shell, and enter lsmerge -h To create the animation:
to run that utility. 1. Create an Image File List (IFL) file (page 3–259)
If you do not see a short help message for to collect the image files into an AVI or FLC
lsmerge, then you will need to add the path animation.
to the lsmerge, lsrad and lsray utilities. The Tip: The Image File List does not need to contain
utilities are located in the \bin subdirectory in path names. You can use the Configure Paths
the directory where Lightscape was installed. dialog > External Files panel (page 3–532) to
For example, you might need to change the indicate the directory where your images have
lsmerge line above to be: been saved.
Note: See the online User Reference to view this 2. In Autodesk VIZ, choose Rendering >
code. Environment.
You can also use the OpenGL renderer by 3. In the Environment dialog, click Environment
changing lsray to lsrender and using options for Map.
lsrender. Look in the Lightscape help file for
4. In the Material/Map Browser, choose Bitmap,
more information on the utilities and options.
and then click OK.
3. Change <ITERATIONS> to the number of
5. In the Select Bitmap Image File dialog, choose
iterations you noted when overriding the
process parameters. the IFL file, and then click OK.
4. If you want to save the solution files, change 6. Click Time Configuration, and use
SAVELS=0 to SAVELS=1. This will require the Time Configuration dialog to make the
extra disk space to hold the solution files. animation length match the number of frames
5. Set PREPFILES, SOLUTIONFILES, and specified in the IFL file.
IMAGEFILES to the directories where the 7. Render a viewport to a movie-format file (AVI,
FLC, or MOV).
How Autodesk VIZ Objects Are Converted to Lightscape 189
Tip: The aspect ratio of the rendered movie Converting Lights

should match the aspect ratio of the frames in
Photometric lights are simply exported to
the IFL file.
Lightscape with the same distribution, intensity,
Note: Some video compressors have been light color, and filter color. Photometric lights
found to add banding and other artifacts to with spotlight distribution maintain their beam
animations. The Intel Indeo video compressor and field angles when exported to Lightscape. For
tends to produce animations with fewer lights with web distributions, the IES file paths are
artifacts. also exported.
Converting Standard Lights

How Autodesk VIZ Objects Are For standard lights, there are three methods for
Converted to Lightscape converting the lights when exporting them to
This topic describes how the exporter converts Lightscape: scaling intensity, matching intensity,
names, lights (including standard lights), and and using attenuation.
materials. • Scaling Intensity—Takes a value you enter
and multiplies that times the standard light’s
Autodesk VIZ and Lightscape Naming Multiplier value. The result becomes the
Lightscape requires unique names for materials, intensity of the converted light in candelas.
blocks, and layers. These names are taken from • Matching Intensity—Calculates the brightness
Autodesk VIZ material and object names, which of a light by matching the apparent intensity
are not necessarily unique. When we process the of the standard light and Lightscape light at a
model for export, we change material and object set distance you can choose. This can give you
names to guarantee uniqueness by adding or a good estimate of the general brightness of a
changing digits at the end of the name. Autodesk VIZ scene. The default distance is 2.5
meters (about 8 feet), which is a good estimate
Converting Geometry for typical interior models. If you are using
To convert Autodesk VIZ geometry, each object targeted spotlights, you can also use the average
is first converted to a mesh. Then the mesh is distance between the lights and their targets.
searched for adjacent triangles that have the same Note: The two previous methods are mutually
normal and the same material: these are collapsed exclusive, and you must choose one method
into quadrilaterals. Triangles and quadrilaterals or the other.
are then exported along with their material • Attenuation—Estimates the brightness of the
assignments, layer assignments, UV coordinates, light based on the range attenuation for lights
and smoothing normals. The geometry is grouped that use range attenuation. This method simply
into Lightscape blocks according to the method matches the light intensity at the distance 25
you chose in the General panel of the export dialog percent of the way from the inner range to
(page 3–193). the outer range. If you use this option, all
Hidden geometry is never exported. lights with range attenuation will be converted
using this method, and all other lights will
be converted using either the scale or match
intensity methods. This method also properly
inverts the brightness of lights imported from material, it creates a standard material that using
Lightscape solutions. the object’s wireframe color, and exports that
material.
There are two methods for converting spotlight
angles. When the Preserve Spotlight Angles option
is not on, the beam angle for a converted spotlight
is set to the angle where the standard spotlight
illuminates at one-half intensity, which matches
the illumination of a Lightscape spotlight at the LandXML (XML, DEM) Files
beam angle. When the Preserve Spotlight Angles
option is on, the beam angle is set to the standard
light’s hotspot angle. Importing LandXML/DEM Models
If you want Lightscape to illuminate a scene the LandXML/DEM Model Import lets you import
same as Autodesk VIZ, you shouldn’t turn on land development data into Autodesk VIZ. Civil
Preserve Spotlight Angles, because the converted engineering data, from XML, DEM (digital
spotlights will have significantly different intensity elevation model), or DDF files, is used to create
distributions. Turn on Preserve Spotlight Angles a Autodesk VIZ model.
when you want to use Autodesk VIZ to specify the
spotlight angles that Lightscape will use.
Since hidden lights in Autodesk VIZ can illuminate
a scene, they are exported unless they aren’t turned
on.
Converting Materials
Lightscape doesn’t have the same materials
found in Autodesk VIZ, and only a few material
parameters are exported. The following material The LandXML/DEM Model Import dialog (page
components are exported: 3–191) allows for interoperability with Autodesk
• Diffuse color products such as Land Development Desktop 3,
Land Development Desktop 2005, Civil 3D™, and
• Shininess CAiCE Visual PE. Once imported, the models are
• Shininess strength ready for high-quality photorealistic rendering
• Diffuse map, if one is assigned and animations.
If you use a multi/sub-object material to assign LandXML File Types

different materials to faces in an object, the
There are three file types you can import with
exporter assigns the proper material to each
face. If you use a material that isn’t a standard the LandXML/DEM Model Import dialog: XML,
DEM, and DDF.
material, the exporter performs a depth-first
search of the material hierarchy until it finds a • XML is the most robust file type for LandXML
standard material, which is exported. If the object import. In addition to surface elevation data,
doesn’t have a material, or the exporter can’t find a
LandXML/DEM Model Import Dialog 191
XML files can also contain Alignment (road) Interface

and Parcel data.
• The DEM (digital elevation model) file type is
the most commonly available large area surface
data type supplied by the USGS and other
government and private organizations. DEM
files contain only surface data.
• The DDF file type is an SDTS (spatial data
transfer standard) format grid surface. DDF
files are very similar to DEM files; however,
DDF information is shared across multiple files.
The LandXML/DEM Model Import utility
searches for the key DDF file in the selected Object List—Lists the terrain surfaces, alignment
directory, which is identified by the following data, and parcel data in the file to be imported.
pattern: xxxxCEzz, where xxxx is usually You can toggle the import of individual objects
numeric and zz typically ’L0’. or entire groups with their corresponding check
Like DEM files, DDF files only contain surface boxes.
data. Three types of civil engineering data stored in
LandXML files are supported:
• Surfaces—3D TIN ground and finished surface
LandXML/DEM Model Import
model. Terrain surface data is imported to
Dialog Autodesk VIZ as an editable mesh.
File menu > Import > Select File to Import dialog > Files • Alignments—2D road centerlines. Alignment
of Type > LandXML/DEM (*.DEM, *.XML, *.DDF)
data is imported to Autodesk VIZ as a Shape
object.
In the LandXML/DEM Model Generator, you
determine which parts of your land development Note: DEM and DDF files do not contain
data are imported to Autodesk VIZ. Autodesk VIZ Alignment data.
then creates separate objects for each of the • Parcels—2D legal parcel or lot boundaries.
land features, including terrain surfaces, road Parcel data is imported to Autodesk VIZ as a
alignments, and parcels. Shape object.
Note: DEM and DDF files do not contain Parcel
data.
Note: 2D Alignment and Parcel shapes are created
on top of the highest terrain surface.
File Data group

The File Data group displays information about
the file to be imported, including date of creation,
author, the application used to create the file, and

the units. Lightscape Export Dialogs
Object Creation Options group
The Object Creation Options group lets you set
the import properties for selected objects.
Color—The color of the object when it is imported Export Lightscape
into Autodesk VIZ. To change this setting, click Preparation File Dialog
the color swatch and select a new color from the
This dialog is displayed when exporting to the
Color Selector.
Lightscape Preparation (LP) file format. The
Smooth Surface—Applies smoothing to the dialog is organized into six panels.
geometry, based on the Smoothing Angle setting.
Edges between faces that have an angle between
them that is greater than the specified smoothing
angle will appear faceted in the scene. Edges
between faces that are below or equal to the
specified angle are smoothed.
Note: This option is only available for terrain
surface objects.
Smoothing Angle—Determines the size of the
smoothing angle.
Note: This option is only available for terrain
surface objects.
Model Creation Options group

Set Scene Units from file—Changes the
Autodesk VIZ Scene Unit to match the units of the
incoming file.
Note: This setting is only available when the
Autodesk VIZ scene is empty. If there is geometry
in your scene, this setting is not available. • General panel (page 3–193)
The units setting of the incoming file is displayed General parameters for exporting your
in the drop-down list. Autodesk VIZ scene.
Vertical Exaggeration Scale—Artificially • Lights panel (page 3–195)

exaggerates the terrain surface to enhance subtle Controls the way in which light objects will
details by applying a scale factors to the vertical be converted to Lightscape luminaires. (Most
dimensions. controls apply to exporting standard lights.)
Tip: This can be useful for very flat surface models. • Animation panel (page 3–197)
Lightscape Preparation File General Panel 193
Lets you export multiple Lightscape Preparation Interface

files for multiple frames in your scene.
• Daylight panel (page 3–198)
Sets the Lightscape daylight parameters. You
can set the parameters directly, or match the
daylight parameters to a light that is modeling
the sun in your scene.
• Windows panel (page 3–199)
Selects materials to identify windows and
openings in the Lightscape Preparation file.
• Views panel (page 3–200)
Allows additional Lightscape View (VW) files
to be output for cameras in your scene.
Lightscape Preparation File

General Panel
This panel sets the general parameters for
exporting the Autodesk VIZ scene to a Lightscape
Master Units—Specifies the units used by the
Preparation (LP) file.
scene, so Lightscape can use them as well. To see
which units the scene is currently using, choose
Customize > Units Setup. If Master Units doesn’t
match the units specified in the Units Setup dialog,
Lightscape might give unrealistic results.
If your scene uses generic units, you will have to
convert to real-world units for Lightscape to use.
In this case, you might also have to adjust the Scale
Factor. The Model Size display can help you do so.
The Master Units are also used as the display units
in the exported LP file.
Scale Factor—A scaling factor that is applied to
the entire model. Any positive real number is
accepted. Use this setting to globally adjust the
size of the exported model. Default=1.
If your scene uses realistic physical dimensions,
as it probably does if you use photometric lights,
then leave Scale Factor set to 1. If you didn’t create
your scene using realistic physical dimensions,
which is often the case when using standard lights Tip: If your scene uses object instancing, creating
or generic units, you might have to adjust the blocks can reduce the file size of the exported LP
scene’s scale. file, because the geometry of the object is exported
only once. You can also use groups to group lights
Model Size—Displays the X, Y, and Z extents of the
with the geometry that represents their fixtures.
scene’s geometry using the current Master Units
This will make moving and changing lights easier
and Scale Factor settings. This can help you set up
in Lightscape.
the exported file if you need to change either of
these settings. Model Size does not include lights Layer Creation and Name—These settings allow you
and cameras, which might be outside the extents to select how Lightscape layers are created and
of the renderable geometry. how surfaces and blocks are placed on the layers.
Default=Instance. The five possible settings are:
Entire Scene and Selected Objects—These radio
buttons select whether all objects in the scene are • Instance—A layer is created for each object
exported, or only selected objects. instance in the model, including lights. The
surfaces for each instance are placed on their
Block Creation and Name—These settings allow you
own layer. The name of the layer is the same as
to select how blocks are created in the exported the name of the object instance. This setting is
LP file. Default=Group. The four possible settings very useful if you plan to import the Lightscape
are: solution back into Autodesk VIZ, since the
• Object—A Lightscape block is created for each importer can reconstruct the original objects.
object. The name of each block is taken from • Object—A layer is created for each object. All
the name of the first instance of the object. surfaces in all instances of the object are placed
If different instances of a single object use in the layer for the object. The name of the layer
different materials, a new block is created so the is the same as the name of the first instance of
proper material can be applied to the instance. the object.
The blocks are then created in the LP file.
• Group—A layer is created for each object
• Group—A block is created for each object, as and each group. All surfaces in all instances
with the Object option, and also for each group. belonging to a group are placed in the layer
The blocks are created in the LP file based on for the group. All other surfaces are placed in
the groups in which they are contained. the layer for the object. The name of the layer
• Single—A single block is created for the entire is the same as the name of the first instance of
scene. All of the meshes of all of the objects the object.
reside within this block. One instance of this • Single—A single layer is created and all surfaces
block is created for the LP file. When this are put on that layer. When this setting is
setting is chosen, the Name field is enabled. used, the Name field is enabled. You can
You can enter the block name in this field. enter the name of the single layer in this field.
Default=The name of the exported file (with no Default=The name of the exported file (with no
file name extension). file name extension).
• None—No blocks are created. All of the meshes • Material—A layer is created for each exported
of all of the objects are created directly in the material. Surfaces are assigned to layers based
LP file. on the material assigned to the surface.
Lightscape Preparation File Lights Panel 195
Quadrilaterals group Textures group

This group gives you more control over the Don’t Save Texture Data—Prevents textures from
geometry exported to Lightscape. being exported with materials.
Length Tolerance—The tolerance between points Relative Texture Paths—Specifies whether or not
that will be welded together when forming texture path names will be output as relative or
quadrilaterals. Points closer than this distance are absolute paths. If this option is off, the exporter
welded. The distance is given in the units selected will output absolute texture paths. If this option is
in the Master Units drop-down list. This value on, the exporter will output relative paths.
becomes the Length Tolerance in Lightscape.
The texture path list the exporter writes always
Triangles—When chosen, no quadrilaterals are contains the directories specified on the External
formed. Files panel (page 3–532) of the Configure Paths
dialog. When you turn on Relative Texture Paths,
Mesh Quads—When chosen, only quadrilaterals
additional relative paths are added to the texture
that are in the mesh are formed, but only if they fit
path list stored by Lightscape.
the criteria that Lightscape uses for quadrilaterals.
• Force—Enabled only when Mesh Quads is Average Texture Color—Selects the material color
chosen. If it is on, then quadrilaterals in the the exporter will use for texture-mapped materials.
mesh will be formed even if they don’t fit the If this option is off, the exporter sets the color of
Lightscape criteria. texture-mapped materials to the original diffuse
color of the Autodesk VIZ material. If this option is
Any Quads—When chosen, triangles can be used on, the exporter sets the color to the average color
to form quadrilaterals, as long as they are planar, of the diffuse map of a texture-mapped material.
convex quadrilaterals that fit the criteria that
Lightscape uses for quadrilaterals.
Don’t allow Lightscape to change geometry—When Lightscape Preparation File Lights
this is on, flags are set to prevent Lightscape from Panel
modifying the geometry when it is initialized to This panel is used to set the parameters for
start the solution. converting Autodesk VIZ lights to Lightscape
Note: This option is available only for recent luminaires.
patches of Lightscape. The most recent patch is
available at ftp://ftp1.discreet.com/web/support/
lightscape/short_sizes2.zip. When you run the
patched Lightscape, you can use the new controls
Preserve Polygons and Condition Polygons. These
are located on the Layer Table Context menu.
Turning on Preserve Polygons preserves the
geometry layout in the LP file; it is the Lightscape
counterpart to Don’t Allow Lightscape To Change
Geometry in the LP exporter. Turning on
Condition Polygons restores the behavior to the
default for the currently selected layers.
Interface Use Attenuation—Selects the Use Attenuation

method for converting lights with range
attenuation.
Preserve Spotlight Angles—Selects how spotlight
angles are converted from Autodesk VIZ
to Lightscape. When this option is off, the
Lightscape beam angle is set to the angle where the
Autodesk VIZ intensity is one-half of the spotlight
intensity, which matches the Lightscape intensity
at the beam angle. When this option is on, the
Lightscape beam angle is set to the hotspot angle.
The Autodesk VIZ intensity at the hotspot angle is
the full spotlight intensity, which is significantly
different from the Lightscape intensity at the beam
angle. You should only turn this option on if you
want to enter a specific Lightscape beam angle for
your spotlights in Autodesk VIZ.
Lightscape Lights group

Relative Photometric Web Paths—Use this option if
your scene contains photometric lights with web
Standard Lights group distributions. When this option is on, exported
Maximum Light Intensity Scale—Selects the scale luminaire definitions contain only the relative path
intensity method for converting standard lights. of the IES file and the absolute path is added to the
You can enter the intensity scale in candelas in Lightscape document path list. When this option
the field to the right. (Photometric lights are not is off, the absolute path of the IES file appears in
scaled.) the luminaire definition.
Light Intensity at Distance—Selects the match
Luminaire Processing group
intensity method for converting standard lights.
You can enter the distance used for matching Average Map Color for Projectors—Use this option
intensity in the field to the right. The units are to average the texture map colors and include
always in those selected by Master Units. them in the filter color of the exported light. This
is available only for bitmap textures.
Average Target Distance—Selects the match
intensity method for converting standard lights. Use Current Light Object Settings—Use this option
The distance used is the average distances between to base the luminaire processing settings on the
targeted spotlights and their targets, which is settings of the Autodesk VIZ light objects. You
displayed in the edit field to the right. This button might want to use this option if you plan on
is disabled if there are no targeted spotlights in the importing your resulting Lightscape solution back
scene. into Autodesk VIZ. The options are determined
as follows:
Lightscape Preparation File Animation Panel 197
• Cast Shadows —This option will be set also stored, then Lightscape must perform the
according to the Autodesk VIZ light Shadow additional step of removing energy from the
Parameters Cast Shadows setting. mesh before it begins ray-tracing.
• Store Direct Illumination—If the Autodesk VIZ
light is turned on, this option will be disabled.
If the Autodesk VIZ light is turned off, this Lightscape Preparation File
option will be enabled. Animation Panel
See the description of Store Direct Illumination This panel is used to set the animation parameters
below. for the Autodesk VIZ scene. You can export a
• Raytrace Direct Illumination—If Use Ray-Traced Lightscape preparation file for multiple frames in
Shadows is on in Autodesk VIZ, this option will a Autodesk VIZ model. The default behavior will
be enabled. export the current frame into the file you chose in
the Select File To Export dialog.
See the description of Raytrace Direct
Illumination below. If you choose one of the other options, the frame
number is appended to the name you chose in
Override Light Object Settings—Choose this the Select File To Export dialog. If the export will
option to use the following check boxes to set the overwrite any preparation files, a single warning
luminaire processing options. The Autodesk VIZ will be displayed for the first file found.
light object settings will be overridden.
• Cast Shadows—When on, turns on the Interface
Lightscape Cast Shadows processing option for
all luminaires. If you disable this option, light
energy is distributed to each surface as if there
were no other surfaces blocking it.
• Store Direct Illumination—When on, turns on
the Lightscape Store Direct Illumination toggle
for all luminaires. This causes illumination to
be stored in the radiosity mesh. If you disable
this option, only indirect lighting will be
calculated; direct illumination from the lights
will not appear in the radiosity solution.
• Raytrace Direct Illumination—When on, turns
on the Lightscape Raytrace Direct Illumination
toggle for all luminaires. This causes light to be
sampled when Lightscape raytraces the model
for rendering. Ray-traced direct illumination
can improve shadow quality.
Tip: In general, it is a good idea to give Store
Direct Illumination and Raytrace Direct
Illumination opposite values: turn off one when Current Frame—Exports a single file for the current
the other is on. If you ray-trace lights that are frame.
Active Segment—Exports a file for each selected Interface

frame in the active animation segment.
Range—Exports a file for each selected frame in
the given range. The format of values in the range
depends on the current time configuration.
Frames—Exports the selected frames. Single
frames or frame ranges are separated by a
comma. Frame ranges are specified by two frame
separated by a hyphen. These values are always
in frames, and don’t depend on the current time
configuration. All files are exported in ascending
frame order, and each file is written only once,
even if it appears multiple times in the list.
Every Nth Frame—This number gives the number
of frames from each frame exported to the next
frame exported. This field is enabled only when
Active Segment or Range is chosen.
Lightscape Preparation File

Light—Select the light you want to use for the sun.
Daylight Panel Select <no daylight> if you don’t want daylight
This panel is used to set the daylight parameters included in the model, or <use daylight> if you
for the exported model. You can enter the want to enter the daylight parameters directly. This
daylight parameters directly, or choose a light list will only have spotlights and directional lights
that represents sunlight in your model. You can in it. You can enter the daylight parameters, even
choose from spotlights, either free or targeted, and if you choose <no daylight>; the parameters will
directional lights. be exported and used if you change the daylight
Note: Lightscape export does not recognize light
setting in Lightscape.
from the Daylight system. If you choose a light and the Recalculate check
box is turned on, the exporter calculates the
daylight parameters that match the direction of
the sun based on the direction of the chosen light.
If the parameters cannot be calculated, a label
highlighted in red will indicate which value is out
of range. In Lightscape, the sun’s position and
brightness will match the chosen light, whether or
not it a realistic location for the sun.
Location—Select a city location where the model
is located. You can also enter the latitude and
longitude directly.
Lightscape Preparation File Windows Panel 199
Latitude and Longitude—Enter the latitude and North—Enter the direction of north in degrees
longitude where the model is located. When clockwise from the positive Y axis. If your selected
calculating the daylight parameters, latitude is light places the sun too high in the sky for a
displayed in red if the latitude is too close to the direction that you enter, the direction will be
poles for the chosen light to give the sun direction. indicated in red to warn you that the sun position
These are set automatically when a location is in the preparation file will be overridden. If you
chosen. want to correct the direction, change it toward
the light. You can also move the location to a
Time Zone—The time zone where the model is
place where the sun rises higher in the sky at that
located. This is set automatically when a location is
direction.
chosen. The time zone is used to convert between
sun time and local time. Time—Enter the time of day for the daylight
calculation. This will not cause other parameters
Daylight Savings—Indicates that daylight savings
to be calculated.
is to be used for converting between sun time and
local time. This is not automatically set when dates Recalculate—When on, daylight parameters are
are changed. recalculated as location, date, and north change.
Turn off Recalculate if you want to enter all of the
Exterior—Indicates that the model is an exterior
parameters directly. Turning on Recalculate will
scene, or partially exterior.
cause other parameters to be calculated.
12/22 to 6/22 and 6/22 to 12/22—Usually, when
Override Solar Luminance—When on, allows the
calculating dates, two possible dates can be chosen
brightness of the selected light to override the
between the two solstices. This radio button
calculated brightness of the sun. When off, the
determines which solstice the date falls within.
brightness of the selected light is not exported, but
AM and PM—Usually, when calculating times, two it might be used to calculate sky coverage.
times can be chosen, either in the morning or
Sky—Sets the sky coverage. The sky can be set to
afternoon. This radio button determines which
Clear, Partly Cloudy, or Cloudy. This affects the
time is chosen. AM chooses the time before the
brightness of the sun. If you turn on Use Light,
sun reaches its highest point, and PM the time
the brightness of the selected light will be used
after the highest point. Because of local variations
to calculate the sky coverage by choosing the
between sun time and local time, these times might
coverage that makes the calculated sun’s brightness
not be in the morning or afternoon respectively.
closest to the light.
Month and Day—Enter the month and day for the
date you want daylight. If your selected light places
the sun too high in the sky for a date that you enter, Lightscape Preparation File
the date will be indicated in red to warn you that Windows Panel
the sun position in the preparation file will be
overridden. If you want to correct the date, change This panel is used to mark windows and openings
it to a date where the sun rises higher in the sky. for Lightscape. When daylight is used for an
You can also move the location to a place where interior scene, Lightscape allows daylight to
the sun rises higher in the sky. enter the scene only through two types of special
surfaces: windows and openings. Openings are
just placeholder surfaces that mark openings for
Lightscape. Windows also allow light to enter, but Openings—Select the material you used for your
other material attributes are used for filtering the openings. Faces that use this material will be
light as it passes through the window. marked as openings.
When you create your scene, you need to make
sure that there are surfaces for all of your windows
and openings.
Lightscape Preparation File Views
Panel
The exported LP file uses the a material to mark
whether a surface is a window or opening. Create The active view is always stored in the preparation
a material that you assign only to openings. Make file. This panel allows you to choose additional
sure that materials assigned to windows are only views that are saved in Lightscape view files.
used by surfaces that are windows. Light might Normally, the additional views are saved in the
shine through surfaces that incorrectly have a same directory as the preparation file and are
material used to marked a window or opening. named for their cameras.
This panel is unavailable if no cameras are in the
Interface scene.
Interface
Windows—Select all of the materials you used for

your windows. When exporting a face, it will be
marked as a window if any of the selected materials Save to File—Displays the file name that will be
is assigned to the face. used to save the view for the last camera selected.
Select None—Removes selection from all materials
You can enter a file name if you don’t want to use
in the Windows list box. the default.
Export Lightscape View File Dialog 201
Browse—Click to open a File Save dialog and Interface

choose the name and location of the file.
Views—Lists the cameras in the scene. You can
select any or all of the cameras. A view file will
be created for each selected camera. By default,
the file name is the same as the camera name,
and the files are put in the directory with the
preparation file. If you are exporting preparation
files for multiple frames, a view is exported for
each camera in each frame. The frame number
is appended to the end of the file name for each
camera. If any of the view files to be exported
would overwrite another file, a single message
will be displayed, and you can choose to abort or
continue the export.
Select All—Selects all cameras in the Views list.
Select None—Removes selection from all cameras

in the Views list.
• General panel (page 3–202)

General parameters for exporting your
Export Lightscape View File Autodesk VIZ views.
Dialog • Views panel (page 3–202)
This dialog is displayed when exporting a Allows additional Lightscape views to be output
Lightscape view (VW) file. The active view is for cameras in your scene.
placed in the file given in the Select File To Export About—Displays a dialog that contains the
dialog, but additional views can be exported to copyright and version of the exporter you are
other files. using.
OK—Begins writing the Autodesk VIZ objects into
the view file.
Cancel—Cancels the export operation. No file is
created when you cancel.
Help—Opens help for the active tab in the dialog.
Lightscape View File General Panel Lightscape View File Views Panel
This panel is used to establish the units and The active view is always stored in the view file.
scaling for the exported model. These should This panel allows you to choose additional views
match the original values used when exporting the that are saved in Lightscape view files. Normally,
preparation file. the additional views are saved in the same
directory as the preparation file and are named
Interface for their cameras.
This panel is unavailable if no cameras are in the
scene.
Interface

Customize > Units Setup. If Master Units doesn’t
match the units specified in the Units Setup dialog,
Lightscape might give unrealistic results.
If your scene uses generic units, you will have to Save to File—Displays the file name that will be
convert to real-world units for Lightscape to use. used to save the view for the last camera selected.
In this case, you might also have to adjust the Scale You can enter a file name if you don’t want to use
Factor. The Model Size display can help you do so. the default.
Scale Factor—Gives a scaling factor applied to Browse—Click to open a File Save dialog and
the entire model. Any positive real number is choose the name and location of the file.
accepted. You can use this setting to globally adjust
the size of the exported model. Views—Lists the cameras in the scene. You can
select any or all of the cameras. A view file will
Model Size—The X, Y, and Z extents of the model be created for each selected camera. By default,
are displayed in here.
Export Lightscape Block File Dialog 203
the file name is the same as the camera name,

and the files are put in the directory with the
preparation file. If you are exporting preparation
files for multiple frames, a view is exported for
each camera in each frame. The frame number
is appended to the end of the file name for each
camera. If any of the view files to be exported
would overwrite another file, a single message
will be displayed, and you can choose to abort or
continue the export.
Select All—Selects all cameras in the Views list.
Select None—Removes selection from all cameras

in the Views list.
Export Lightscape Block File

Dialog
• General panel (page 3–204)
This dialog is displayed when exporting a
General parameters for exporting blocks.
Lightscape block (BLK) file. Block files contain
only the layer, material, block, and luminaire • Lights panel (page 3–206)
definitions in the model. You can load blocks and Controls the way in which Autodesk VIZ
luminaires from a Lightscape block file into an light objects will be converted to Lightscape
existing model, and create instances of the blocks luminaires.
or luminaires.
About—Displays a dialog that contains the
copyright and version of the exporter you are
using.
OK—Begins writing the Autodesk VIZ objects into
the block file.
Cancel—Cancel the export operation. No file is
created when you cancel.
Help—Opens help for the active tab in the dialog.
accepted. Use this setting to globally adjust the

Lightscape Block File General size of the exported model. Default=1.
Panel
If your scene uses realistic physical dimensions,
This panel is used to set the general parameters for as it probably does if you use photometric lights,
exporting a Autodesk VIZ model to a block file. then leave Scale Factor set to 1. If you didn’t create
your scene using realistic physical dimensions,
Interface which is often the case when using standard lights
or generic units, you might have to adjust the
scene’s scale.
and Scale Factor settings. This can help you set up
the exported file if you need to change either of
these settings. Model Size does not include lights
and cameras, which might be outside the extents
of the renderable geometry.
buttons select whether blocks are exported for all
objects in the scene, or only selected objects.
Block Creation and Name—These settings allow you
to select how blocks are created in the exported
model. Default=Group. The four possible settings
are:
• Object—A block is created for each object. The
name of each block is taken from the name
Master Units—Specifies the units used by the of the first Autodesk VIZ object that uses the
scene, so Lightscape can use them as well. To see Autodesk VIZ object. If different instances
which units the scene is currently using, choose of a single Autodesk VIZ object use different
Customize > Units Setup. If Master Units doesn’t materials, a new block is created so the proper
match the units specified in the Units Setup dialog, material can be applied to the instance. The
Lightscape might give unrealistic results. blocks are then created in the model.
If your scene uses generic units, you will have to • Group—A block is created for each object as
convert to real-world units for Lightscape to use. with the Object setting and also for each group.
In this case, you might also have to adjust the Scale The blocks are created in the model based on
Factor. The Model Size display can help you do so. the groups in which they are contained.
• Single—A single block is created for the entire
The Master Units are also used as the display units
model. All of the meshes of all of the objects
in the exported BLK file.
are created within this block. One instance
Scale Factor—A scaling factor that is applied to of this block is created for the model. When
the entire model. Any positive real number is this setting is chosen, Name is enabled. You
Lightscape Block File General Panel 205
can enter the name of the single block in this • Single—A single layer is created and all surfaces
field. The default name is the base name of the are put on that layer. When this setting is used,
exported file. Name is enabled. You can enter the name of the
• None—No blocks are created. All of the meshes single layer in this field. The default name is the
of all of the objects are created directly in the base name of the exported file.
model. • Material—A layer is created for each exported
Tip: If you are using object instancing in material. Surfaces are assigned to layers based
Autodesk VIZ, creating blocks can reduce the file on the material assigned to the surface.
size of the exported file, because the geometry
Quadrilaterals group
of the object is only output once in the exported
file. You can also use groups to group lights with This group gives you more control over the
the geometry that represents their fixtures. This geometry exported to Lightscape.
will make moving and changing lights easier in
Length Tolerance—The tolerance between points
Lightscape.
that will be welded together when forming
Layer Creation and Name—These settings allow quadrilaterals. Points closer than this distance are
you to select how layers are created and how welded. The distance is given in the units selected
surfaces and blocks are placed on the layers. in the Master Units drop-down list. This value
Default=Instance. The five possible settings are: becomes the Length Tolerance in Lightscape.
• Instance—A layer is created for each object Triangles—When chosen, no quadrilaterals are
instance in the model, including lights. The formed.
surfaces for each instance are placed on their
Mesh Quads—When chosen, only quadrilaterals
own layer. The name of the layer is the same
as the name of the Autodesk VIZ object that are in the mesh are formed, but only if they fit
instance. This setting is very useful if you the criteria that Lightscape uses for quadrilaterals.
plan to import the Lightscape solution back • Force—Enabled only when Mesh Quads is
into Autodesk VIZ, since the importer can chosen. If it is on, then quadrilaterals in the
reconstruct the original objects. mesh will be formed even if they don’t fit the
• Object—A layer is created for each Lightscape criteria.
Autodesk VIZ object. All surfaces in all Any Quads—When chosen, triangles can be used
instances of the object are placed in the layer for to form quadrilaterals, as long as they are planar,
the object. The name of the layer is the same as convex quadrilaterals that fit the criteria that
the name of the first instance of the object. Lightscape uses for quadrilaterals.
• Group—A layer is created for each Autodesk VIZ Don’t allow Lightscape to change geometry—When
object and each group. All surfaces in all this is on, flags are set to prevent Lightscape from
instances belonging to a group are placed in the modifying the geometry when it is initialized to
layer for the group. All other surfaces are placed start the solution.
in the layer for the object. The name of the layer
Note: This option is available only for recent
is the same as the name of the group, or the first
patches of Lightscape. The most recent patch is
instance of the object.
available at ftp://ftp1.discreet.com/web/support/
patched Lightscape, you can use the new controls Interface

Preserve Polygons and Condition Polygons. These
are located on the Layer Table Context menu.
Turning on Preserve Polygons preserves the
geometry layout in the LP file; it is the Lightscape
counterpart to Don’t Allow Lightscape To Change
Condition Polygons restores the behavior to the
default for the currently selected layers.
Textures group
Don’t Save Texture Data—Prevents textures from
being exported with materials.
Relative Texture Paths—Selects whether or not
texture path names will be output as relative or
absolute paths. If this option is off, the exporter
will output absolute texture path names. If this
option is on, the exporter will output relative path
names. See Using Relative Paths with Block and
Material Files (page 3–185) for more information.
Average Texture Color—Selects the material color Standard Lights group
the exporter will use for texture-mapped materials.
Maximum Light Intensity Scale—Selects the scale
If this option is off, the exporter will set the color
of texture-mapped materials to the diffuse color of
You can enter the intensity scale in candelas in
the Autodesk VIZ material. If this option is on, the
the field to the right. (Photometric lights are not
exporter will set the color to the average color of
scaled.)
the diffuse map of a texture-mapped material.
Light Intensity at Distance—Selects the match
Lightscape Block File Lights Panel You can enter the distance used for matching
intensity in the field to the right. The units are
This panel is used to set the parameters for
always in those selected by Master Units.
converting Autodesk VIZ lights to Lightscape
luminaires. Average Target Distance—Selects the match
The distance used is the average distances between
targeted spotlights and their targets, which is
displayed in the edit field to the right. This button
is disabled if there are no targeted spotlights in the
scene.
Lightscape Block File Lights Panel 207
Use Attenuation—Selects the Use Attenuation • Cast Shadows —This option will be set
method for converting lights with range according to the Autodesk VIZ light Shadow
attenuation. Parameters Cast Shadows setting.
Preserve Spotlight Angles—Selects how spotlight • Store Direct Illumination—If the Autodesk VIZ
angles are converted from Autodesk VIZ light is turned on, this option will be disabled.
to Lightscape. When this option is off, the If the Autodesk VIZ light is turned off, this
Lightscape beam angle is set to the angle where the option will be enabled.
Autodesk VIZ intensity is one-half of the spotlight See the description of Store Direct Illumination
intensity, which matches the Lightscape intensity below.
at the beam angle. When this option is on, the
• Raytrace Direct Illumination—If Use Ray-Traced
Lightscape beam angle is set to the hotspot angle.
Shadows is on in Autodesk VIZ, this option will
The Autodesk VIZ intensity at the hotspot angle is
be enabled.
the full spotlight intensity, which is significantly
different from the Lightscape intensity at the beam See the description of Raytrace Direct
angle. You should only turn this option on if you Illumination below.
want to enter a specific Lightscape beam angle for Override Light Object Settings—Choose this
your spotlights in Autodesk VIZ. option to use the following check boxes to set the
luminaire processing options. The Autodesk VIZ
Lightscape Lights group light object settings will be overridden.
Relative Photometric Web Paths—Use this option if • Cast Shadows—When on, turns on the
your scene contains photometric lights with web Lightscape Cast Shadows processing option for
distributions. When this option is on, exported all luminaires. If you disable this option, light
luminaire definitions contain only the relative path energy is distributed to each surface as if there
of the IES file and the absolute path is added to the were no other surfaces blocking it.
Lightscape document path list. When this option
• Store Direct Illumination—When on, turns on
is off, the absolute path of the IES file appears in
the Lightscape Store Direct Illumination toggle
the luminaire definition.
for all luminaires. This causes illumination to
Luminaire Processing group be stored in the radiosity mesh. If you disable
this option, only indirect lighting will be
Average Map Color for Projectors—Use this option calculated; direct illumination from the lights
to average the texture map colors and include will not appear in the radiosity solution.
them in the filter color of the exported light. This
• Raytrace Direct Illumination—When on, turns
is available only for bitmap textures.
on the Lightscape Raytrace Direct Illumination
Use Current Light Object Settings—Use this option toggle for all luminaires. This causes light to be
to base the luminaire processing settings on the sampled when Lightscape raytraces the model
settings of the Autodesk VIZ light objects. You for rendering. Ray-traced direct illumination
might want to use this option if you plan on can improve shadow quality.
importing your resulting Lightscape solution back
Tip: In general, it is a good idea to give Store
into Autodesk VIZ. The options are determined
Direct Illumination and Raytrace Direct
as follows:
Illumination opposite values: turn off one when
the other is on. If you ray-trace lights that are
also stored, then Lightscape must perform the names. See Using Relative Paths with Block and
additional step of removing energy from the Material Files (page 3–185) for more information.
mesh before it begins ray-tracing.
Export Lightscape Layer File

Export Lightscape Material File Dialog
Dialog This dialog is displayed when exporting a
This dialog is displayed when exporting a Lightscape layer (LAY) file. Layer files contain only
Lightscape material (ATR) file. Material files the layer definitions in the model. You can load
contain only the material definitions in the model. layers from a Lightscape layer file into an existing
You can load materials from a Lightscape material Lightscape model.
file into an existing Lightscape model. Note: The Lightscape exporter does not recognize
Autodesk VIZ scene layers, because it was written
Interface before that feature was implemented.
Interface

buttons choose whether all materials in the scene
are exported, or only those materials used by the Entire Scene and Selected Objects—These radio
selected objects. Default=Entire Scene. buttons select whether all layers in the scene are
exported, or only those layers used by the selected
Don’t Save Texture Data—Prevents textures from
objects. Default=Entire Scene.
being exported with materials.
Layer Creation and Name—These settings allow
Average Texture Color—Selects the material color
you to select how layers are created and how
the exporter will use for texture-mapped materials.
surfaces and blocks are placed on the layers.
If this option is off, the exporter will set the color
Default=Instance. The five possible settings are:
of texture-mapped materials to the diffuse color of
the Autodesk VIZ material. If this option is on, the • Instance—A layer is created for each object
exporter will set the color to the average color of instance in the model, including lights. The
the diffuse map of a texture-mapped material. surfaces for each instance are placed on their
own layer. The name of the layer is the same
Relative Texture Paths—Selects whether or not as the name of the Autodesk VIZ instance of
texture path names will be output as relative or the object. This setting is very useful if you
absolute paths. If this option is off, the exporter plan to import the Lightscape solution back
will output absolute texture path names. If this into Autodesk VIZ, since the importer can
option is on, the exporter will output relative path reconstruct the original objects.
Export Lightscape Parameter File Dialog 209
• Object—A layer is created for each

Autodesk VIZ object. All surfaces in all Export Lightscape Parameter File
instances of the object are placed in the layer for Dialog
the object. The name of the layer is the same as
This dialog is displayed when exporting a
the name of the first instance of the object.
Lightscape parameter (DF) file. Parameter files
• Group—A layer is created for each Autodesk VIZ contain the units and processing parameters
object and each group. All surfaces in all for the model. You can load parameters from
instances belonging to a group are placed in a Lightscape Parameter file into an existing
the layer for the group. All other surfaces are Lightscape model.
placed in the layer for the object. The name of
the layer is the same as the name of the first Interface
instance of the object.
• Single—A single layer is created and all surfaces
are put on that layer. When this setting is used,
Name is enabled. You can enter the name of the
single layer in this field. The default name is the
base name of the exported file.
• Material—A layer is created for each exported
material. Surfaces are assigned to layers based
on the material assigned to the surface.
Don’t allow Lightscape to change geometry—When
this is on, flags are set to prevent Lightscape from
modifying the geometry when it is initialized to
start the solution.
Note: This option is available only for recent Customize > Units Setup. If Master Units doesn’t
patches of Lightscape. The most recent patch is match the units specified in the Units Setup dialog,
available at ftp://ftp1.discreet.com/web/support/ Lightscape might give unrealistic results.
patched Lightscape, you can use the new controls If your scene uses generic units, you will have to
Preserve Polygons and Condition Polygons. These convert to real-world units for Lightscape to use.
are located on the Layer Table Context menu. In this case, you might also have to adjust the Scale
Turning on Preserve Polygons preserves the Factor. The Model Size display can help you do so.
geometry layout in the LP file; it is the Lightscape The Master Units are also used as the display units
counterpart to Don’t Allow Lightscape To Change in the exported DF file.
Condition Polygons restores the behavior to the Scale Factor—Gives a scaling factor applied to the
default for the currently selected layers. entire model. Any positive real number is accepted
and the default is 1.0. You can use this setting to
globally adjust the size of the exported model.
and Scale Factor settings. This can help you set up • (LS files.) Specifying a prefix (page 3–213) for
the exported file if you need to change either of imported Lightscape objects.
these settings. Model Size does not include lights • (LS files.) Choosing which Lightscape objects
and cameras, which might be outside the extents to import (page 3–213).
of the renderable geometry.
• (LS files.) Choosing the conditions for
Entire Scene and Selected Objects—These radio importing Lightscape lights (page 3–212).
buttons select whether all objects in the scene are
• (LS files.) Choosing the radiosity mapping
exported, or only selected objects.
settings (page 3–213).
Length Tolerance—The tolerance between points Note: The Lightscape importer does not convert
that will be welded together when forming Lightscape layers into Autodesk VIZ scene layers,
quadrilaterals. Points closer than this distance are because it was written before that feature was
welded. The distance is given in the units selected implemented.
in the Master Units drop-down list. This value
becomes the Length Tolerance in Lightscape. Procedures
Texture Path from Files—Specifies whether the To import a Lightscape (LS, VW, or LP) file:
texture path list the exporter outputs will contain
1. Choose File > Import.
directories generated from the textures in a scene.
The texture path list the exporter writes will always The Select File To Import dialog is displayed.
contain the directories specified on the External 2. Choose Lightscape (*.LS, *.VW, *.LP) from the
Files panel (page 3–532) of the Configure Paths Files Of Type drop-down list.
dialog. When you turn this option on, additional
3. Use the dialog’s controls to browse to the
directories containing textures are added to the
directory that contains the file you want to use.
path list. See Using Relative Paths with Block and
Highlight the name of that file, and then click
Material Files (page 3–185) for more information. Open.
Depending on the type of file you chose, an
Import Lightscape Preparation dialog (page
3–220) or an Import Lightscape Solution dialog
Importing Lightscape Files (page 3–221) is displayed.
No dialog is displayed when you import a
Just as you can export a Lightscape Preparation
Lightscape view (VW) file.
(LP) file, you can also import one into
Autodesk VIZ. You can also import Lightscape To replace the current scene:
Solution (LS) and Lightscape View (VW) files.
When you import a Lightscape Solution or
The steps to import a Lightscape file include: Preparation file, you can choose to add the
• Accessing the import dialog (page 3–210). imported objects to the current scene, or to replace
entire scene.
• Choosing to replace the current scene (page
3–210). • In the Import Lightscape Preparation dialog,
turn on Replace Current Scene.
• Choosing how to group the imported objects
(page 3–211). • In the Import Lightscape Solution dialog, turn
on Replace Scene Contents.
Importing Lightscape View Files 211
To group imported objects:

• In the Import Lightscape Preparation or the
Importing Lightscape Preparation
Import Lightscape Solution dialog, use the Files
controls in the Entity Grouping group to choose File menu > Import > Lightscape (*.LS, *.VW, *.LP) >
how imported Lightscape objects are grouped. Choose an LP file. > Import Lightscape Preparation dialog
See each dialog’s description for details about

A Lightscape Preparation file contains lights and
these options.
geometry, but does not contain radiosity data.
To get version information about the Lightscape file When you import a Lightscape Preparation file,
importer: Lightscape data appears in your scene as follows:
1. Access the Import Lightscape Solution dialog. • Lightscape geometry becomes editable mesh
objects.
2. Click About.
• Lightscape luminaires become photometric
An About Lightscape LS File Import dialog
lights.
is displayed. This shows the version of the
importer that is currently installed. • Lightscape views become target cameras.
The dialog that is displayed when you import an
LP file gives you a few options for how to import
Importing Lightscape View Files the Lightscape data, but not as many as when you
File menu > Import > Lightscape (*.LS, *.VW, *.LP) >
import an LS file.
Choose a VW file.
See also
When you import a Lightscape VW file, the
Import Lightscape Preparation Dialog (page
importer creates a target camera in your scene.
3–220)
The camera has the name of the Lightscape view
file, and is oriented to reproduce the original
Lightscape view.
No additional dialog appears when you import a
VW file. Importing Lightscape
You can have a viewport show the view by Solution Files
right-clicking the viewport’s label, then choosing
Views followed by the name of the camera and Choose an LS file. > Import Lightscape Solution dialog
view file.
A Lightscape Solution file contains lights,
geometry, and a radiosity mesh. When you import
a Lightscape Solution file, you have a wide range of
options about which data to import, and how.
See also
Import Lightscape Solution Dialog (page 3–221)
Importing Lights the Luminaire Processing parameters in

Lightscape.
There are two sets of options for how you import
lights from the LS file. These are in the Lights Lightscape Radiance Map parameters correspond
group of the Import Lightscape Solution dialog. to the following:
• The first set lets you choose the on/off status of • Contrast and Brightness are equal to the
lights: all on, all off, or on or off as they were Contrast and Brightness in the Display panel of
set in Lightscape. the Lightscape File Properties.
• The second set begins with the toggle, Make • Daylight corresponds to Daylight in the
Lightscape Lights. When this is on, Lightscape Lightscape Process Parameters.
lights (luminaires) are imported as photometric
• Exterior is the opposite of Daylight Through
lights; there are no further options to set.
Windows And Openings Only in the Lightscape
Make Lightscape Lights is on by default. When Process Parameters.
you turn off Make Lightscape Lights, other
options become available: these have to do Determining Whether or Not to Have Lightscape
with how luminaires are converted to standard Store Direct Illumination
lights. See the Lights group description (page When importing lights from a Lightscape solution
3–223) for details. file, you can run into the following situation:
Luminaires and Photometric Lights • If a light is turned on in Autodesk VIZ and the
direct illumination was stored in Lightscape,
When you import luminaires as Photometric the effect of the light on the Lightscape objects
lights, they have the following settings: in Autodesk VIZ is doubled. Similarly, if the
• Intensity is equal to the luminaire Intensity in light is off in Autodesk VIZ and the direct
Lightscape. illumination was not stored in Lightscape, the
• Color and Filter Color are the same as the surface does not have any direct light and is
luminaire Color and Color Filter in Lightscape. too dark.
• The light’s distribution (isotropic, spot, or web) There are several issues to consider when deciding
is the same as the luminaire’s distribution in whether or not to have Lightscape store the direct
Lightscape. illumination or have Autodesk VIZ calculate the
direct illumination:
• Point lights are converted to Free Point lights.
• Does a Autodesk VIZ object that is not part of
• Area and Linear lights are imported as Area
the Lightscape model, need to be illuminated
and Linear lights.
by light?
• Triangular Area lights are converted to
If the answer is yes, then Autodesk VIZ needs
rectangular Area lights.
to do the lighting calculations for those lights.
• Shadows are on if Cast Shadows was on in
• Are you using a material effect that needs to be
the Luminaire Processing parameters in
illuminated by a light?
Lightscape.
The Lightscape radiosity mapping is applied
• Shadows are set to Raytrace Shadows, if
only to the ambient or diffuse map or color in
Raytrace direct illumination was on in
a material.
Importing Lightscape Solution Files 213
Material effects that need Autodesk VIZ Radiosity Settings

light may include specular mapping, opacity
You can control the brightness and contrast of the
mapping, and so on.
image displayed on your monitor. You can also
To turn off direct illumination storage, use specify the type of radiosity mapping required
Lightscape. Select the lights that need to be on in for your scene (daylight, exterior, or daylight
the Autodesk VIZ scene. Right-click and choose exterior).
Luminaire Processing, then turn off the parameter
For details, see the Radiosity Mapping group
Store Direct Illumination.
description (page 3–222).
Keeping Your Scene’s Original Materials Procedures
If you export a Autodesk VIZ scene to Lightscape To specify a prefix for Lightscape objects:
and calculate a radiosity solution, you can have
When you import a Lightscape solution (LS)
the importer use your original Autodesk VIZ
file, you can specify a prefix to the name of each
materials when you import the solution back into
imported object. This lets you easily identify and
Autodesk VIZ.
group the Lightscape objects in your Autodesk VIZ
Do this when you export your model: scene.
• After you have exported your scene, be sure • In the Import Lightscape Solution dialog (page
to save the MAX file. The exporter tags the 3–221), enter the prefix in the Object Name
exported materials. If the scene is not saved, the Prefix field.
importer will not be able to find the materials it The importer places this prefix at the beginning
needs to use. of every Lightscape entity name that you
import.
Follow these steps when you import your model:
1. Before importing the Lightscape solution, open To import selected Lightscape objects:
the MAX scene that was exported to create the When you import a Lightscape Solution file, you
solution. can choose which Lightscape objects to import.
2. Import the LS file. In the Import Lightscape • In the Import Lightscape Solution dialog, use
Solution dialog, make sure the options Replace the controls in the Import group to choose
Scene Contents and Keep Original Materials which types of Lightscape objects to import.
are both turned on.
To replace the radiosity solution in an existing
3. Set the other import options you want to use,
Autodesk VIZ scene:
then click OK to import the model.
This procedure assumes you have already
Note: If the importer cannot find the
established an existing scene, with radiosity.
Autodesk VIZ material from which a
Lightscape material was created, it will create a 1. Make backup copies of your existing
new Autodesk VIZ material. Autodesk VIZ scene and your current
Lightscape solution (LS) file.
2. In your Lightscape solution, make your lighting
revisions and run the solution until you obtain
the desired result. Save the LS file.
3. In Autodesk VIZ, import the LS file. Respond to the dialog that asks if you want to
The Import Lightscape Solution dialog is keep the original material.
displayed. 5. On the Multi/Sub-Object Basic Parameters
4. In the Import group, turn off all Import options rollout, click Set Number and change the
except for Radiosity and Lights. number of sub-materials to the number you
want to use with the imported meshes.
5. Click OK.
You can set the color and mapping of each
The importer replaces the scene’s radiosity sub-material as you would for top-level
solution with the one obtained from the LS file. materials.
To import sunlight into an existing Autodesk VIZ 6. Apply the new multi-sub-object material to the
scene: Lightscape Mesh objects (page 3–214) in the
This procedure assumes you have already scene.
established an existing Autodesk VIZ scene based 7. Select a Lightscape mesh object.
on the geometry of an LS file.
1. Process your Lightscape solution file with 8. On the Modify panel, go to the Face
the desired daylight settings until you have sub-object level.
achieved the desired result. Save the LS file. 9. Set the material ID of each Face sub-object to
2. In Autodesk VIZ, import the LS file. correspond to the ID of the sub-material you
want to apply to that face.
The Import Lightscape Solution dialog is
displayed. Note: When the mesh stores textures (the Mesh
To Texture procedure was used in Lightscape),
3. In the Import group, turn off all options except
faces that have textures are displayed and
for Radiosity, Sunlight, and Materials.
rendered with no further lighting calculations.
(Materials is an optional choice. If you didn’t If you want to assign a material to a face, then
change materials in Lightscape, you can leave at the Face sub-object level, make sure you turn
it off as well.) off Raw Mesh To Texture.
4. Click OK. 10. Repeat steps 7 through 9 for each Lightscape
The importer creates a directional light that mesh object in the scene.
models the sunlight created in Lightscape.
To make a Autodesk VIZ material for use with Lightscape Mesh Objects
imported meshes:
When you import a Lightscape Solution (LS)
1. In Autodesk VIZ, open the Material Editor. file, the Lightscape geometry, which can contain
2. Click an unused sample slot to make it active.
radiosity data, is imported as an object type named
Lightscape Mesh. At the object level, Lightscape
3. Click the material type button (by default, it meshes have no parameters. Lightscape meshes
is labeled “Standard”). have a single sub-object level, Faces. At the Faces
The Material/Map Browser is displayed. sub-object level, you can change the material
4. In the Browser, double-click Multi/Sub-Object.
ID value of faces for controlling sub-material
assignment.
Using Illumination Maps 215
Interface ID—The material ID you want to use to select

faces. If this field is blank, all material IDs will be
The Faces sub-object level for Lightscape mesh
selected when you click OK.
objects has a rollout in the Modify panel titled
Material IDs. Raw Mesh to Texture—The state of the Raw Mesh
To Texture flag you want to select. This check
box has three states: on, off, and indeterminate
(a gray check mark). If Raw Mesh To Texture
is indeterminate, a face’s state of this flag
is disregarded when making the selection.
Default=indeterminate.
Clear Selection—When this check box is on, the
previous selection is cleared before making the
new selection. When it is off, the new selection is
Material group
added to the previous selection. Default=on.
ID—Assigns a material ID to the selected faces.
Select By ID—Click to display a Select By Material

ID dialog (page 3–215), where you can select faces
Using Illumination Maps
based on their material ID, and whether their You can import illumination maps and assign them
material was generated by Mesh To Texture. to one of the Autodesk VIZ material components.
This is a three-step process: you need to import
the model without the illumination maps, use
Raw Mesh to Texture—This check box is turned on Lightscape to create the illumination maps, and
the material on the face selection was generated then import the illumination maps.
using the Lightscape Mesh To Texture feature. For details of the import options, see the
These materials are displayed without lighting Illumination Maps group description (page
calculations. 3–223).
If you assign a new material to a face, you should For instructions on creating illumination maps,
turn off Raw Mesh To Texture. see To build illumination maps (page 3–216).
Select by Material ID Dialog When to Use Illumination Maps

You can select faces in the mesh based on their Illumination maps work best for textured faces. If
material ID, or on their Raw Mesh To Texture flag. the face is not textured, a standard mesh-to-texture
map that includes the color of the face will give you
better results. It is difficult to adjust the brightness
and contrast for illumination maps that are not
applied to textured surfaces.
Checking Your Model

This process will work with most models, but there
are areas where you might have trouble.
You should not have more than 65,536 faces to prevent them from being clustered. Each
in any of the objects that you want to use with face that requires a different illumination
mesh-to-texture or illumination maps. Each face map, UV offset, or UV scale also needs a
might create a unique texture, and each texture different material for the face. is handled using
requires a unique material ID. Autodesk VIZ a multi/sub-object material. You might find
imposes a limit of 65,536 on the material ID value. thousands of materials assigned to a single
object.
If your game engine can apply only a single UV
coordinate map on a face, you need to be careful • The illumination map and diffuse map might
about the mappings on the faces. use different UV offsets and scales.
• Don’t face-map coplanar connected faces. • If you want multiple illumination maps packed
When the coordinate system is built for the into a single texture, you will need to write the
illumination map, Autodesk VIZ tries to use tool to do this. You should take care about
the coordinate system on the faces. If the face using the Fill Color for this purpose. The fill
UVs overlap, then Autodesk VIZ cannot use color might be drawn along the edges of a
them. A coordinate system will be created for face. Increasing the antialiasing will reduce the
the illumination map, but you will not be able regions where the fill color is drawn, but might
to use the same map for the diffuse and the not completely eliminate it.
illumination maps.
Procedures
• Watch out for degenerate maps. These maps
appear as streaks in Autodesk VIZ viewports, To build illumination maps:
or when rendered. Watch out for the top and 1. In Lightscape, export your model to a LP file.
bottom of a cylinder and cone. If you want
2. In Lightscape, create a radiosity solution.
to clean up the UV map, apply a UVW map
modifier and then collapse the stack. 3. In Lightscape, convert faces that are not
textured to textures by using Mesh To Texture.
Autodesk VIZ will warn you when it cannot
Turn on Pad Texture Edge in the Mesh To
match up the illumination and diffuse maps.
Texture wizard to ensure that textures mesh
Autodesk VIZ also places the correct coordinates
well at face boundaries. Replace the maps on
for the illumination map in the second UVW
the surfaces, and reset the mesh.
mapping channel, so your game exporter can use
it. Tip: You might want to use a single-pixel texture
when you want to use an illumination map with
Game-Engine Export faces that are not textured. This will help you
correctly adjust the brightness and contrast for
Illumination maps can be useful with game
the model.
engines. Once the illumination maps are imported
into Autodesk VIZ, your game engine exporter 4. Turn on textures.
will be able to export them to your game engine. A 5. Increase the contrast and reduce the brightness
few things to be aware of: until you are satisfied with the dynamic range of
• Maps are generated for coplanar clusters the illumination on the textured faces. At first
of faces. You can have the game exporter the model will look dark, but in the next step
extract the pixels for a face from maps, or you will use the texture scale to compensate.
you can put coplanar faces on different layers
Using Illumination Maps 217
6. Adjust the texture scale to compensate for the 2. Import the LS file you created in step 10 of
reduced contrast and brightness. Adjusting the the previous procedure, To build illumination
texture scale can compensate. Try to get the maps (page 3–216).
model to look as good as it can. The Import Lightscape Solution dialog is
This step assumes that your game engine will displayed.
multiply the illumination map by the diffuse 3. Turn off all options in the Import group.
texture. This method loses contrast. If your
game engine applies illumination differently, to In the Illumination Maps group, turn on
get a good-looking result you might need to use Import Illumination Maps, and choose the
different values in steps 5 and 6. material component you want to use for the
illumination maps.
Illumination maps have an inherent problem.
Tip: If you use material maps with the
They cannot brighten a texture value beyond
the HSV Value of the texture itself. This limits Self-Illumination component, Autodesk VIZ
the dynamic range produced by the textured will be able to render the illumination map
surfaces. You can see this in the Lightscape along with your other material settings.
OpenGL renderer. You can improve the look by Also in the Illumination Maps group, use the
increasing the contrast, reducing the brightness, default settings for unconvertable maps: leave
and increasing the texture scale of textures. Don’t Assign turned off, and Use Second UVW
7. Save the LS file.
turned on.
8. Turn off textures and convert the textured

4. Clean up errors reported by the importer.
surfaces to illumination maps. Look at the Error dialog (page 3–224) for
details on the errors.
Turn on Pad Texture Edge in the Mesh To
Texture wizard to ensure that textures mesh The importer will identify each illumination
well at face boundaries. map that couldn’t be properly mapped using
the UVW 1 coordinates in Autodesk VIZ.
9. Replace the maps on the surfaces and reset the If you have coplanar face-mapped surfaces
mesh. Use a different name for these textures or UV coordinates that are degenerate, the
than the name you used in step 3. illumination maps will fail. If you left Don’t
10. Save the LS file using a name different from the Assign and Use Second UVW in their default
name you used in step 7. settings, the importer will use the UVW 2
coordinates for these maps, and if your game
To import illumination maps: engine can map the illumination and diffuse
1. In Autodesk VIZ, import the LS file you created maps independently, the maps will be correct.
in step 7 of the previous procedure, To build If your game engine requires the illumination
illumination maps (page 3–216). and diffuse maps to use common coordinates,
you will need to adjust the coordinates to make
Note: If the scene was originally a Autodesk VIZ
them match.
scene and you want to keep your old materials,
follow the steps described in Keeping Your
Scene’s Original Materials (page 3–213). The
materials created by Mesh To Texture will
replace the original Autodesk VIZ materials.
2. On the Viewport Configuration dialog,

Helpful Hints and Troubleshooting click the Rendering Method tab to go to the
This topic provides hints and troubleshooting tips Rendering Method panel.
on importing Lightscape Solution (LS) files. 3. In the Rendering Options group, turn on
Default Lighting.
Material Effects and Animated Shadows
Don’t Appear in Renderings Unusual Patterns Appear on Surfaces
Processing direct illumination in Lightscape This can happen when you import a double-sided
contributes to the reduction of the time it takes surface from Lightscape. Lightscape explodes
to render the scene in Autodesk VIZ. However, a double-sided surface into two back-to-back
because the light was already cast in Lightscape, surfaces at the same location. Small errors
you will not be able to use material effects such in precision can prevent Autodesk VIZ from
as opacity or specular mapping, or cast shadows consistently selecting the correct surface, so the
from animated objects. surfaces appear to intersect one another.
Solution Solution
Use the luminaire processing functions in Don’t use double-sided surfaces in Lightscape.
Lightscape to: Instead, hide mesh faces that are facing away from
• Store direct and indirect illumination (the the view. In Lightscape, you can make all surfaces
default setting) if you don’t plan to do opacity single sided before you initiate your model:
or specular mapping or use volumetric lights 1. Select all surfaces in the model.
in Autodesk VIZ. 2. Right-click and choose Orientation from the
• Process only the indirect illumination in the menu.
cases where you want to use material mapping 3. Click the One-Sided button.
such as opacity or specular mapping, or to cast
shadows from animated objects. Refer to the Lightscape User’s Guide for more
information.
Warning: Don’t apply an edit mesh modifier to a
Lightscape mesh that has radiosity. Any geometric The Imported Camera View Doesn’t
changes destroy the mesh’s radiosity mapping. Match Lightscape
Lightscape Meshes Appear Black in This can happen when you import a view that has
Shaded Viewports been scrolled in Lightscape. Scrolling positions
the focus point of the view away from the center of
Shaded viewports might not have Default Lighting the window. Autodesk VIZ cameras are not able
turned on. to display a view in this manner.
Solution Solution
Turn on default lighting, as follows: Avoid scrolling views in Lightscape. In Lightscape,
1. Right-click the viewport’s label, and choose you can remove any scroll by:
Configure. 1. Choose View > Setup.
Lightscape Materials Utility 219
2. Click OK. If the view was scrolled, the focus Selected Object group
point now moves to the center of the window.
Displays the name of the currently selected object.
Refer to the Lightscape User’s Guide for more If no objects are selected, displays None Selected.
information. If more than one object is selected, displays
Multiple Selected.
Lightscape Materials Utility

Utilities panel > Click More. > Utilities dialog > Choose Add to All—Click to add a Lightscape material to
Lightscape Materials. > Lightscape Materials rollout all materials used by all objects in the scene.
With the Lightscape Materials utility, you can add An object’s previous material, if any, becomes the
the Lightscape material (page 2–1191) to multiple Lightscape material’s base material. If a material
objects, and remove the Lightscape radiosity is already using a Lightscape material, it remains
material from multiple objects. unchanged.
You set the new Lightscape material’s values in the
Interface Radiosity Mapping group, described below.
Add to Selected—Clicking to add a Lightscape
material to all materials used by the current
selection.
An object’s previous material, if any, becomes the
Lightscape material’s base material. If a material
is already using a Lightscape material, it remains
unchanged.
You set the new Lightscape material’s values in the
Radiosity Mapping group, described below.
Remove from All—Click to remove the Lightscape
material from all materials used by all objects in
the scene.
Each material’s base material becomes the
top-level material. If a material is not using a
Lightscape material, it remains unchanged.
Remove from Selected—Click to remove the
Lightscape material from all materials used by the
current selection.
Each material’s base material becomes the
top-level material. If a material is not using a
Lightscape material, it remains unchanged.
These parameters are used only when you add the Interface
Lightscape materials. They set the initial values of
the new Lightscape material.
Radiosity Mapping group

Brightness—Controls the brightness of the
displayed image on your monitor. The setting
of this control does not affect the actual lighting
levels in the model. Default=50.0.
Contrast—Controls the contrast between light and
dark regions in the model. Default=50.0.
Ambient Light—Controls the amount of
Autodesk VIZ ambient light that will be mixed in
with the radiosity calculations. If the value is 0.0,
none of the Autodesk VIZ ambient light is used. Entity Grouping group
If the value is 1.0, the full Autodesk VIZ ambient
Use these options to combine the imported
light is added into the radiosity calculations.
Lightscape geometry in various ways.
Default=0.0.
Derive from Layers—Imports each surface as an
Daylight—Determines whether you want natural
object, and objects on the same layer are placed in
daylight to be used in the calculation. Default=on.
the same Autodesk VIZ group.
Exterior Scene—Used for exterior daylight
Derive from Materials—Imports all Lightscape
simulations. Default=off.
geometry assigned the same material as a single
object. The name of the object is the same as the
material name, along with the unique number
appended to the name.
Lightscape Import Dialogs Derive from Material within Layer—All surfaces that
have the same material and are on the same layer
are imported in a single group.
Import Lightscape Preparation
Dialog
Skip Layers that are Off—When on, skips layers that
Choose an LP file. > Import Lightscape Preparation dialog are off in Lightscape. When off, imports objects
on Lightscape layers that are off. The objects are
This dialog is displayed when importing the imported as hidden objects. Default=off.
Lightscape Preparation (LP) file format. Replace current scene—When on, the imported
model replaces the current Autodesk VIZ scene.
When off, the imported Lightscape objects are
added to the current scene. Default=off.
Import Lightscape Solution Dialog 221
Replace scene contents—When on, the imported

Import Lightscape Solution Dialog model replaces the current Autodesk VIZ scene.
When off, the imported Lightscape objects are
Choose an LS file. > Import Lightscape Solution dialog added to the current scene. Default=off.
This dialog is displayed when importing the Import group

Lightscape Solution (LS) file format. You can determine which Lightscape entities you
import.
Interface
Geometry—Imports the Lightscape solution mesh
surfaces. Default=on.
Radiosity—Imports the radiosity-mapping
component of the Lightscape solution (you
must import geometry at the same time, or have
previously imported geometry). Default=on.
Because radiosity is part of the geometry in
Lightscape, you can’t import radiosity alone unless
you have previously imported the mesh geometry.
This option is useful if you need to change
the radiosity solution without changing the
geometry. The importer looks for the geometry
in Autodesk VIZ and simply re-attaches the
recomputed solution (colors and sub-mesh).
Materials—Imports Lightscape material
definitions. Default=on.
Fog—Imports linear fog. If the Lightscape solution
file contains both linear and exponential fog, the
In addition to a couple of “independent” controls importer turns the exponential fog into linear.
at the top, the Import Lightscape Solution Default=on.
dialog has five groups: Import, Entity Grouping, Note: If the fog is not turned on in Lightscape, then
Radiosity Mapping, Illumination Maps, and you cannot import it. If you want to import fog,
Lights. make sure that you turn the fog on in Lightscape.
Note: The settings in this dialog are “sticky”: if
View—Imports a camera that duplicates the
you import more than one LS file, the next time
Original view in Lightscape (Perspective view
the dialog is displayed, it shows the changes you
only). Default=on.
previously made to the import parameters.
Lights—Imports Lightscape luminaires. (The
Object Name Prefix—Enter a prefix to the name of
Sunlight option imports the sun.) Default=on.
each imported Lightscape object. A prefix lets you
easily identify and select the Lightscape objects in
your Autodesk VIZ scene. Default=no prefix.
Options in the Lights group of this dialog, • By Material Within Layer—All surfaces that have
described below, specify how the importer imports the same material and are on the same layer are
lights. imported in a single group.
Sunlight—Imports a directional light that
Radiosity Mapping group
duplicates the color and direction of the sun.
Default=on. Controls the brightness and contrast of the image
displayed on your monitor and in renderings.
Background—Imports the current background
These controls also let you specify the type
color in Lightscape. Default=on. of radiosity mapping required for your scene
The default background color in both Lightscape (daylight, exterior, or daylight and exterior).
and Autodesk VIZ is black. Brightness—Controls the brightness of the
Layers that are off—When on, imports objects displayed image on your monitor. The setting of
on Lightscape layers that are off. The objects are this control does not affect the actual lighting levels
imported as hidden objects. Default=off. in the model. Typically, values range between
30 and 60. Default=the Brightness value in the
Note: Layers that are on are always imported.
Lightscape model (you set this on the Lightscape
Keep original Materials—When on, finds and Document Properties dialog: File > Properties >
keeps the original Autodesk VIZ materials that Display tab).
were exported to create the Lightscape materials
Contrast—Controls the contrast between light
in the solution. When off, the importer creates a
and dark regions in the model. Typically, values
new Autodesk VIZ material for each Lightscape
range between 30 and 50. Default=the Contrast
material. See Keeping Your Original Autodesk VIZ
value in the Lightscape model (you set this on the
Materials (page 3–184). Default=on.
Lightscape Document Properties dialog: File >
Entity Grouping group Properties > Display tab).
Use these options to combine the imported Daylight—When on, uses natural daylight when
Lightscape geometry in various ways. calculating radiosity. Default=the Daylight
(Sunlight + Sky Light) setting in the Lightscape
• None—Imports each surface (flat area in
model (you set this on the Lightscape Process
Lightscape that you can select) as a distinct
Parameters dialog: Process > Parameters).
object.
Exterior—When on, uses exterior daylight when
• All—Imports the Lightscape model as a single,
calculating radiosity. Default=the opposite of the
combined object.
Daylight Through Windows And Openings Only
• By Layer—Imports each surface as an object, setting in the Lightscape model (you set this on
and objects on the same layer are placed in the the Lightscape Process Parameters dialog: Process
same Autodesk VIZ group. > Parameters).
• By Material—Imports all Lightscape geometry
Create Exposure Control—When on, creates a
assigned the same material as a single object.
logarithmic exposure control (page 3–77) for the
The name of the object is the same as the
scene. Default=off.
material name, along with the unique number
appended to the name. When Make Lightscape Lights is turned on (in
the Lights group), this control is disabled and
Import Lightscape Solution Dialog 223
turned on, because photometric lights require the • Use second UVW—When on, selects the
exposure control. mapping coordinates used for maps that cannot
be correctly rendered using explicit UVW1
Illumination Maps group mapping coordinates. The correct coordinates
You can import Lightscape illumination maps as are placed in explicit UVW2 mapping
Autodesk VIZ material maps. coordinates, and the map uses the UVW2
coordinates. When off, the mapping depends
Import Illumination Maps—When on, imports on the state of Don’t Assign. Default=on.
illumination maps from the LS file. Default=off.
When you import the illumination maps, you must Lights group
import into an existing scene that was imported In the box on the left, you can choose whether the
from Lightscape previously. You cannot import imported Lightscape lights are turned on or off in
materials or geometry at the same time, and you the Autodesk VIZ scene.
must import radiosity data. You can import lights, • All on—All lights come into the scene turned on.
sunlight, and so on, but you don’t have to import
these. • All off—All lights come into the scene turned
off.
Channels—Chooses the material component that
• Use light parameters—Uses the Lightscape
will be used for the illumination maps.
settings to determine whether a light is on or
In order to help this function work with normal off (see the list that follows). As a general rule
mesh-to-texture maps, the importer will not of thumb, you should leave this option chosen:
import a texture map that is already assigned to let the importer decide when to turn on lights.
a different material component. This keeps the This option is the one that is chosen by default.
importer from importing mesh-to-texture maps If Store Direct Illumination is on in Lightscape,
already assigned to the diffuse component into a then lights are off when imported. If Store
different component. The importer determines Direct Illumination is off in Lightscape, then
whether a map is assigned to a different component lights are on when imported.
by comparing the path names of the maps.
Note: If Store Direct Illumination is on in
This is unavailable when Import Illumination Lightscape, and the importer turns a light on
Maps is off. in Autodesk VIZ, then the effect of the light on
Unconvertable maps—Selects the error action for the imported Lightscape objects is doubled. In
maps that cannot be correctly rendered using a similar way, if the direct illumination was not
explicit UVW1 mapping coordinates. stored in Lightscape, and the importer turns the
light off in Autodesk VIZ, the imported surface
These toggles are unavailable when Import will not have any direct light and will appear too
Illumination Maps is off. dark.
• Don’t assign—When on, maps that can’t be
Make Lightscape Lights—When on, converts
rendered are not assigned to the material
imported lights into photometric lights with
applied to the faces in question. When off,
settings as described in the list that follows. When
the maps are assigned to the material and Use
off, converts imported lights into standard lights,
Second UVW is used to determine which
mapping coordinates are used. Default=off.
with settings determined by the other controls in option will create lights with the same intensity
this part of the Lights group. Default=on. as the original Autodesk VIZ scene.
See Luminaires and Photometric Lights (page Use Attenuation—When on, the standard lights use
3–212) for details of how luminaires are converted. range attenuation. When off, the standard lights
are not attenuated. Default=on.
The remaining options in the Lights group are for
converting imported lights into standard lights. Note: The range attenuation limits are always
They are unavailable unless you turn off Make calculated, regardless of this option’s setting.
Lightscape Lights. Preserve Spotlight Angles—When on, the hotspot
• Automatic Intensity Calculation—The intensity angle is set to the Lightscape beam angle. When
of each standard light is based on the intensity off, the hotspot angle is set so the standard
of each Lightscape light. This option is chosen spotlight distribution is closer to the Lightscape
by default. light’s distribution. Default=on.
• Maximum Light Intensity Scale—The intensity Leave this option on if you are using Autodesk VIZ
of each standard light is based on the intensity for modeling only, and Lightscape for rendering.
of the Lightscape light divided by the specified Turn this option off if you want Lightscape and
value. When this option is chosen, you can Autodesk VIZ rendering to be similar visually.
enter the constant value in the field to the right
of the radio button. The value is in candles.
Default constant=12000. Error Dialog (Lightscape Import)
This option is useful when you import a The Lightscape importer will display an error
solution generated from a Autodesk VIZ scene dialog when errors are found while merging
with standard lights. If you used the Maximum radiosity or illumination maps into an existing
Light Intensity Scale option when you exported scene.
the scene, this option will create lights with the
same intensity as the original Autodesk VIZ The errors that can be displayed in the dialog are:
scene. • Radiosity data for [object ] could not be
• Light Intensity at Distance—The intensity of merged.
each standard light is calculated by matching The radiosity data for the specified object
the brightness of the standard light and the couldn’t be merged. This can happen if the
brightness of the Lightscape light at a given object has been deleted, or if the faces of the
distance from the light. When this option object have changed. The importer will not try
is chosen, you can enter the distance in the to import illumination maps if the radiosity
field to the right of the radio button. The data cannot be merged.
value is in feet unless you specify meters (m).
• [Face-material ]: [object-material ] (
Default=0.208m.
[sub-material ] ): Could not be cloned.
This option is useful when you import a
The material named face-material couldn’t
solution generated from a Autodesk VIZ scene.
be cloned to add the illumination map. This
If you used the Light Intensity At Distance
error is not expected, and usually indicates
option when you exported the scene, this
that the system doesn’t have enough memory
to make a copy of the material. Face-material
Exporting to Shockwave 3D 225
is assigned as a sub-material of the material Interface

named object-material. Sub-material is the
sub-material ID number.
[sub-material ] ): UVW of illumination map
does not match.
The UVW mapping for the illumination
map being used with the material named
face-material did not match the coordinates
in the explicit UVW 1 mapping coordinates.
Face-material is assigned as a sub-material
of the material named object-material.
Sub-material is the sub-material ID number.
Face-material will have the illumination map
assigned depending on the Don’t Assign setting
in the Import Lightscape Solution dialog (page Shockwave Files (W3D)
3–221).
[sub-material ] ): UVW of illumination map Exporting to Shockwave 3D
assigned to channel 2.
You can set up 3D scenes and animations
The UVW mapping for the illumination in Autodesk VIZ, and then export them in
map being used with the material named Shockwave 3D (W3D) format for use in interactive
face-material did not match the coordinates presentations in Macromedia Director. To start
in the explicit UVW 1 texture coordinates. this process, choose File menu > Export, and
The correct coordinates are stored in choose Shockwave 3D Scene Export (*.W3D)
UVW 2 mapping coordinates, and the as the file type. Choosing this format opens the
illumination map is assigned to face-material Shockwave 3D Scene Export Options dialog (page
using these coordinates. Face-material is 3–226).
assigned as a sub-material of the material
The Shockwave exporter in Autodesk VIZ offers
named object-material. Sub-material is the
significant differences from the 3ds Max exporter
sub-material ID number.
previously available from Macromedia. When you
prepare a scene for exporting to Director, please be
aware of the following:
• Hidden objects are not exported.
• The exporter supports specular lighting for
light sources with Specular turned on in the
General Parameters rollout > Affect Surfaces
group.
• Some types of mapping distort or disappear • Information about what resources each scene
on export. Whenever possible, use element uses (for example, the model resource
Multi/Sub-Object materials rather than maps. used by a model in the scenegraph).
• Controls for any modifiers associated with the
geometry resources.
Shockwave 3D Scene Export
• Information about any cameras, lights, and
Options Dialog
groups in the scene. Shockwave 3D treats
File menu > Export > Select File To Export dialog > Save cameras, lights, and groups as less important
As Type > Shockwave 3D Scene Export (*.W3D) resources, and stores information about them
only in the scenegraph.
This dialog appears when you choose the
Shockwave 3D format as the export format for The scenegraph hierarchy is the glue that binds
your scene. most of the scene assets in the Shockwave 3D file.
If this option is turned off, only shader, texture,
Interface model, and motion resources will be written to
the W3D file, and all the other information that
specifies how objects exist in the scene, how the
scene is laid out, how the scene is lit, and how the
scene is viewed will be missing. For this reason,
turn this option off only when exporting libraries
of animations or texture maps.
Note: The exporter will remember this setting
from one export to the next. Be sure to turn on
this option again before trying to export an entire
scene. If you do not, the result will be unusable
(except as an object and texture library).
Geometry resources—Exports all meshes to the
Shockwave 3D file. If this option is turned off,
the preview window will be completely black. All
other designated resources will be written to the
W3D file.
Animations—Writes out the animation on
Resources to Export group
all objects supported by the exporter to the
Scenegraph hierarchy—Controls whether or not Shockwave 3D file. The preview window is useful
the parent-child hierarchy between all geometry, in quickly showing which animations the exporter
light, group, and camera resources is written to is capturing.
the Shockwave 3D file. This option should always
By default, the Shockwave 3D Exporter captures
be selected when exporting an entire scene from
the animation of all objects in the scene in every
Autodesk VIZ. The Shockwave 3D scenegraph
frame. This data is compressed into a streaming
contains:
format as the file is written. There may be times,
• Information on parent-child relationships. however, when you only want to capture part of an
Shockwave 3D Scene Export Options Dialog 227
animation, or sample it more coarsely than once a We strongly recommend that you leave this option
frame. If this option is cleared, the full scene will on when exporting any geometry, shader, or
be displayed in the preview window without any texture map resources. Turn this option off only
animations. when exporting just the animation in a scene;
Note: Autodesk VIZ supports direct animation of otherwise, the W3D file will not work correctly
cameras and lights. If you animate a camera or with Director.
light, that animation will be exported, but an extra Texture map resources—Exports all texture maps
geometry node will be inserted into the scene associated with all objects supported by the
during the export process. This geometry node exporter to the Shockwave 3D file. Texture
has the animation of the camera or light applied to maps in Shockwave 3D are bitmap images or
it, and the camera or light is made a child of this 2D procedural maps, such as Tile and Gradient
extra node. Ramp. All bitmap images used in Autodesk VIZ
The exporter does this because the Shockwave are transformed by Shockwave 3D into streaming
3D runtime engine supports keyframes only on JPEG images.
geometric nodes. The extra node that the exporter Note: The terms "Texture," "Map," and "Texture
creates is named "Dummy Animation Node xyz", Map" are used interchangeably. If this option is
where xyz is the name of the animated camera turned off, models will be untextured when first
or light. This dummy geometry node also has loaded into Director, because they will have no
a dummy material applied to it named Dummy texture information (despite their being visible
Material, and the geometry is invisible. and fully shaded in the preview window). Once
textures are assigned to the proper shaders with
Lingo™ programmers should note that the camera
Lingo, the models will look properly textured.
or lights transform is now relative to the dummy
geometry node, that is, its parent. Shaders—Exports all shaders in the Shockwave
3D file. Shaders are the highest-level entities
Important: Animation export compression collapses
that describe surface properties. They bear no
hierarchies (simple linked hierarchies in Autodesk VIZ),
relationship to the shaders used in Autodesk VIZ.
so only animation assigned to the root exports properly.
Shockwave 3D does not distinguish among Blinn,
For example, in a simple head animation where the eyes
Phong, Anisotropic, or any other shader algorithm
and eyelids are linked to the skull, the skull movements
that determines the rendered look of materials
export but the eye and eyelid animations do not.
and maps. Only Gouraud shading, which is
Because Autodesk VIZ groups do not collapse on export,
most closely emulated by the standard shaders
you should link each element of your chain, and then
in Autodesk VIZ, is supported. Shockwave 3D
group each element with its parent starting from the
shaders are primarily pointers to texture map
bottom of the chain and working to the top. Arrange
resources and material resources.
each group’s pivot point, and then animate only the
group objects, and not their contained elements. Note: The Shaders option should be used in
conjunction with the Texture Map Resources
Material resources—Exports all basic materials
and Material Resources options. If this option
associated with all objects supported by the is turned off, models will be invisible when first
exporter to the Shockwave 3D file. Materials loaded into Director, because they will have no
represent the most basic properties that can be shading information (despite their being visible
assigned to a surface, such as diffuse color, opacity, and fully shaded in the preview window). Once
and specular color.
shaders are assigned to the models with Lingo Compression Settings group
(Director’s scripting language), the models will
The Shockwave 3D file contains all scene assets
become visible and look properly shaded.
in a proprietary compressed and streaming
Enable Toon and SDS—When turned off, this format. You can control the order in which data
option prevents the writing of geometry data used streams with the user properties. The amount
by some of the more advanced Shockwave 3D of compression of the scene assets is set by three
technologies, and thus reduces the overall file size. controls: Geometry Quality, Texture Quality, and
Animation Quality. The controls have values
If turned off, Toon and Subdivision Surfaces (SDS)
that range from 0.1 to 100.0, with higher values
data is not included in the export file, which means
giving less compression and better quality (a more
that the Toon and Subdivision Surfaces modifiers
faithful representation of the original model).
cannot be applied to the model in Director. A
model missing this geometry data can be used with A value of 100 means that the scene assets will
all other Shockwave 3D technologies, however. be represented at the best quality possible, but
Leave this option turned on unless it is expedient with some degree of compression still present. It
to reduce the size of the W3D file. does not represent the value at which compression
does not occur. Also, the compression controls
Note: There is no way to tell if a W3D file was
do not have a linear scale, so a setting of 20.0
exported with this option enabled or disabled
doesn’t necessarily mean that the quality level of
until you try to apply the Toon or SDS modifiers
the resulting data is twice as good as that produced
in Director. For this reason, if you turn off this
with a setting of 10.0.
option, use a special naming convention to
indicate that a model doesn’t have the Toon or SDS Geometry quality—Controls how much the scene
data in it. geometry data (such as vertex positions and
normals and texture coordinates) is compressed.
Light resources—Exports all lights in the scene to
The default of 25.0 generally produces a good
the Shockwave 3D file.
compromise between data accuracy and space
Turning this option off doesn’t do anything unless savings.
the scenegraph hierarchy option is also turned off.
Texture quality—Controls the compression of
The only time you should turn this option off is
textures (images) in the scene.
when exporting just the animation, geometry, or
texture data in a scene. Animation quality—Controls the compression of
animation data in the scene. Higher compression
Camera—Determines the viewpoint used for the
levels (lower quality) tend to remove the finer
scene in Director. This option defaults to Active
motions authored in the scene, especially
Viewport, but if any cameras exist in the scene,
motion-capture data, while occasionally
you can choose one from the drop-down list.
introducing small noise artifacts.
Note: In order to preview or export an animated
Note: You might need to use larger values of the
camera, you must select that camera from the
list. Selecting Active Viewport with an animated
Animation Sampling Interval control (below)
along with greater values of this setting to
camera will not export that camera’s animation.
minimize the file space consumed by animation
while still maintaining acceptable motions.
Shockwave 3D Scene Export Options Dialog 229
Texture Size Limits group capture the entire animation interval specified
in Autodesk VIZ, sampling all animations in the
The Texture Size Limits setting lets you reduce
scene every frame.
the size of the W3D file by limiting the size of the
texture maps in the export.
Export Controls
The reduced size of the texture maps will usually
Author Check—Opens a window displaying
look fine on the model, because the model’s
warning messages about possible problems found
UVW texture coordinates will have already taken
converting the scene to the W3D file format. If no
into account the non-square dimensions of the
errors are found, the window is blank.
image. Use the smaller settings if, after tuning the
compression settings and simplifying the scene in These messages, which do not necessarily
Autodesk VIZ, the W3D file is still too large. If the indicate problems with the scene, can be useful in
scene contains no textures, or only small textures, debugging problems such as why the scene looks
limiting the texture size will not help to reduce the different in the preview window than it does in
size of the W3D file. Autodesk VIZ. If the scene uses any Autodesk VIZ
features that are not supported by the exporter,
No limits on texture size—Exports all texture maps
they will be listed here.
in the scene at the full resolution of the image as
used in Autodesk VIZ. For example, a 2048 X Analyze—Opens the Shockwave 3D File Analysis
4096-pixel image will be written to the W3D file at window (page 3–230), displaying a graphic
these dimensions (compressed, of course). breakdown of the data in the W3D file.
512 by 512 pixels maximum—Exports the texture Preview—Opens the Shockwave 3D Export
maps so that no image exceeds 512 X 512 pixels. A Preview window (page 3–230), showing the scene
2048 X 4096-pixel image will be scaled to a 512 X as it will be exported.
512-pixel image; a 128 X 1024-pixel image will be
File—Opens the Choose Export File dialog, which
scaled to a 128 X 512-pixel image.
lets you specify the name and location of the file to
256 by 256 pixels maximum—Exports the texture be exported. When you click Save, you’re returned
maps so that no image exceeds 256 X 256 pixels. to the Export Options dialog; the file name and
A 2048 X 4096-pixel image will be scaled to 256 X path you specified appear in the field next to the
256 pixels; a 128 X 1024-pixel image will be scaled File button.
to 128 X 256 pixels. Note: Clicking the Save button does not save the
W3D file; you must click the Export button to
Animation Options group create the file.
The Animation Options group contains the
Export—Exports the Shockwave 3D file, using the
controls to change how an animation is captured.
path and name specified next to the File button.
Sampling interval—This setting is used to capture
View after export—After you export a file, this
object animation once every specified number of
option lets you view it in the Preview window
frames.
(page 3–230).
Range—These Start and End controls indicate
which frames of the scene animations are to
be captured. By default, these values are set to
orthographic camera forward, because the lack of

Shockwave 3D Export Preview perspective effects does not hide models as the
camera passes them. Dolly the camera back, and
As Type > Shockwave 3D Scene Export (*.W3D) > Preview any visual artifacts should disappear.
You can navigate the export preview window using
This window displays the scene as it has been
the following controls.
captured by the Shockwave 3D Exporter. This
view lets you quickly identify scene elements that
Rotation
are not supported by the Shockwave 3D Exporter.
• Left-click=orbit
• Left-click+Y=rotating the camera with "Y-up"
(particularly useful if scene was created in the
"Y-up" environment)
• Left-click+SHIFT=roll; vertical movement is
ignored
Dolly
• Left-click+CTRL=dolly
• Left-click+CTRL+SHIFT=dolly faster
In many cases the export preview window will Pan

display scene resources you had decided not to
• Left-click+SPACEBAR=pan
export. Remember that this window displays
the scene as captured by the exporter and not • Left-click+SHIFT+SPACEBAR=constrain the
necessarily how it is written to the W3D format. movement to be either horizontal or vertical,
Only those scene assets indicated under the export depending on the initial direction when first
options and supported by the exporter will be dragging
written to the W3D file.
Export with a User, Top, Front, or Right viewport Shockwave 3D File Analysis
active in Autodesk VIZ, and the scene will be Window
viewed through an orthographic camera. Export
with a Perspective or Camera viewport active File menu > Export > Select File To Export dialog > Save
As Type > Shockwave 3D Scene Export (*.W3D) > Analyze
in Autodesk VIZ, and the scene will be viewed
through a perspective camera.
This window provides a graphic breakdown of
Note: When navigating a scene, keep in mind the data in the W3D file. Click OK to close the
that only the parts of models that are in front of window.
the camera will be rendered. Parts of models
that penetrate the camera plane and are behind
the camera will not render, resulting in visual
artifacts ("black holes" or "tearing") in the model.
This is particularly noticeable when you dolly an
Importing STL Files 231
Interface • Unknown—includes, for example, streaming

priorities, names, and block sizes.
File Organization—Graphic display of the size of
the entire file and its initial load segment (ILS)
portion. The ILS, in orange, consists of all the
data that must be loaded before Shockwave will
display the scene (scenegraph data, animations,
shaders, and any textures or geometry with a
streaming priority of zero). The rest of the file,
in light blue, represents all of the streamable data
with a non-zero streaming priority. This data will
continue to load and fill out the detail of the scene
Pie Chart—Graphic display of the proportion of the as the download proceeds.
file used by all of the W3D file data types. Refer Runtime Texture Information—Approximate
to the color-coded Categories list, which gives a texture memory that will be required at run time to
percentage and an absolute size in kilobytes of display the textures in the scene. Scenes requiring
each asset: more than a few megabytes of texture memory
• Geometry—(in the initial load segment, will require accelerated graphics cards to display
if a model has a zero priority in the textures at their full resolution.
sw3d_stream_priority user property, or in the
streamable portion of the file, if a model has a
non-zero streaming priority)
• Shaders—(only in the initial load segment)
• Textures—(in the initial load segment, if the
Stereolithography (STL)
model that uses the texture has a zero priority Files
in the sw3d_texture_stream_priority user
property, or in the streamable portion of
the file, if a model has a non-zero streaming Importing STL Files
priority)
File menu > Import > StereoLitho (*.STL)
• Materials—(only in the initial load segment)
• Lights—(only in the initial load segment) An STL file saves object data in a format used
for stereolithography. STL files have a filename
• Animations— (only in the initial load segment)
extension of .stl. There is an ASCII STL format as
Note: Large animations can greatly lengthen the well as a binary STL format. You can choose which
time it takes to see the start of a Shockwave 3D to create when you export a Autodesk VIZ scene.
animation, because they must fully download
before any of the scene can becomes visible. STL files are generally used for purposes of rapid
prototyping. A variety of methods use the STL
• Nodes—or scenegraph hierarchy data (only in format to construct prototypes. For example,
the initial load segment) many STL machines use a liquid polymer and
harden it in small slices, creating a solid plastic
model. Other STL machines use metal powder to Weld Threshold—Determines the size of the area
create a model in steel. Still other machines use which vertices must occupy to be welded. Vertices
a special wax. with distances equal to or less than this value are
welded into a single vertex.
You can import and export STL files. See
Exporting to STL (page 3–233). Weld—Turns on the Weld Vertices function. In
most cases, you should leave this box turned on
Interface because unwelded objects can’t be unified or
smoothed.
Use Threshold—If on, STL import uses the
standard 3D Studio welding method. This can be
a very slow process.
Quick Weld—If on, STL import uses a welding
algorithm optimized for the STL format. This is
up to thirty times faster than standard 3D Studio
welding, and is highly recommended.
Auto-Smooth group
Auto-Smooth—Applies smoothing groups (page
3–732) to the geometry based on the smoothing
angle set by the smooth angle spinner. Edges
between faces that have an angle between them
that is greater than the specified smoothing angle
will appear faceted in the rendered image. Edges
between faces that are below the specified angle
are smoothed
Smooth Angle—Determines the size of the
smoothing angle.
Auto-Smooth—Turns on the Auto-Smooth
function.
Name—Enter a name for the 3D Studio object Miscellaneous group

created from the STL file. Default is the file name Remove Double Faces—Removes one of the pair
(without extension) or the name saved internally wherever two faces are occupying the same
in the STL file. location. Recommended.
Weld Vertices group Unify Normals—Forces the normals (page 3–704)
of all faces on each object to face the same way
Welds coincident vertices in the STL file into single
(usually out). If, when you render your scene, the
vertices in the 3D Studio mesh.
face normals are pointing in the wrong direction,
Exporting to STL 233
use the Normal modifier to flip them. For best Interface

results, leave this box turned on.
Exporting to STL
File menu > Export > StereoLitho (*.STL)
An STL file saves object data in a format used

for stereolithography. STL files have a file-name
extension of .stl. There is an ASCII STL format as
well as a binary STL format. You can choose which
to create when you export a Autodesk VIZ scene.
STL files are generally used for purposes of rapid
prototyping. A variety of methods use the STL
format to construct prototypes. For example,
Object Name—Enter a name for the object you
many STL machines use a liquid polymer and
want to save in STL format.
harden it in small slices, creating a solid plastic
model. Other STL machines use metal powder to Binary/ASCII—Choose whether the STL output file
create a model in steel. Still other machines use will be binary or ASCII (character) data. ASCII
a special wax. STL files are much larger than binary STL files.
An STL object must define a complete and closed Selected Only—Exports only objects that you
surface. You can check whether the geometry you selected in the scene.
want to export satisfies this criterion by using the
STL Check modifier (page 2–204).
You can also import STL files. See Importing STL
Files (page 3–231).
VRML Files
Importing VRML Files

Of Type > VRML (*.WRL, *.WRZ)
You can import VRML 1.0, VRBL, and

VRML 2.0/VRML 97 files into Autodesk VIZ.
Autodesk VIZ imports geometry, materials
(including diffuse texture maps), lights,
perspective cameras and viewpoints,
transformations, and grouping nodes created by
other VRML tools. Once they are in the scene file,
you can edit, modify, and animate these objects.
Autodesk VIZ also imports basic transform Create Primitives—Converts the VRML
animations, such as position, rotation, and scale. Box/Cube, Cone, Cylinder, and Sphere nodes
Also included are animated color and light. These to corresponding Autodesk VIZ primitives, if
correspond to the basic animation that is exported possible. If the VRML object has a texture on it, or
by the VRML 1.0/VRBL and VRML97 exporters. if only part of the VRML object is to be created,
Helper objects are not created upon import. a general triangular mesh object will be created
Lighting effects are somewhat simplified from the instead. If you turn off this option, Autodesk VIZ
full VRML lighting model. will convert these objects to triangular mesh
• VRML97 files don’t indicate the duration of objects.
an animation. If you import animation from
a VRML97 file, you might want to set the
animation length in Autodesk VIZ manually. Exporting to VRML97
• More elaborate forms of animation File menu > Export > Select File To Export dialog > Save
As Type > VRML97 (*.WRL)
and simulation, including Script nodes,
MovieTexture nodes, and sensor nodes, are not
Autodesk VIZ scenes can be exported to VRML97
supported.
file format.
• The VRML 1.0 WWW Inline works only if the
URL refers to a local file residing in the same See also
folder as the .WRL file. Internet URLs are not
supported. VRML97 Export (page 3–237)
Interface Procedure
To export a file to VRML97:
1. Choose File menu > Export.
2. Choose VRML97 (.WRL) as the file format.
3. Enter a file name, and click Save.
4. In the VRML97 Exporter dialog, set options as
described below.
Reset Scene—Deletes any existing scene upon

import. If you turn off this option, the imported
VRML world is merged into the Autodesk VIZ
scene.
Turn to 3DS Coordinates—Rotates the imported
VRML world from Y, which is "up" in VRML, to
Z, which is "up" in Autodesk VIZ. If you turn off
this option, VRML X, Y, and Z coordinates are
imported without change.
Exporting to VRML97 235
Interface be animated. This option can generate large files,

because the exporter has to calculate the position
of every vertex for this kind of animation.
Certain types of animations are not possible with
Coordinate Interpolators; for example, when the
mesh being animated changes size between frames.
An example of this is animating the number of
segments in a sphere. Autodesk VIZ warns you if
it detects this type of animation on export.
Indentation—Indents the VRML97 source code so
it is easy to read. Default=on.
Export Hidden Objects—Exports hidden objects.
Default=off.
Primitives—Exports VRML97 primitives, which
reduces the file size because these primitives are
described very simply (for example, a sphere
is described by its radius). To see how many
polygons are in the scene, turn off this box to
export Autodesk VIZ primitives, which have an
indexed face set for each object. Default=on.
Flip-Book—Exports the scene to multiple files. The
sample rate is set in the in the Flip-Book section
of the Sample Rates dialog. The file name you
specify becomes the base for the sequence of files.
For example, if you specify the file name test.wrl,
Generate group choose one file per animation frame, and have five
frames, Autodesk VIZ exports the following:
Turning on any of these options increases the
size of the VRML97 file generated by the export test.txt contains general info, start/stop times, and
process. number of frames.
Normals—Generates real normals for objects. test0.wrl through test4.wrl are snapshots of the
Some browsers need normals to do smoothing animation in frames 0 through 4.
properly. Check this box if you are exporting Color Per Vertex—Exports the vertex colors of
geometry that uses smoothing groups in geometry. If this is turned on, the Color Per Vertex
Autodesk VIZ, to see the correct shading. Source lets you choose the source of the vertex
Default=off. color.
Coordinate Interpolators—Exports animation
effects that involve actual modifications of the Polygons Type
mesh objects, and not just move, rotate, and scale. Determines how geometric faces are written out as
Examples include modifiers whose parameters can VRML97 IndexedFaceSet nodes.
Ngons—Writes faces with as many edges as Digits of Precision

possible.
Sets the number of decimal points used for
Quads—Writes quadrilateral faces where possible calculating dimensions. The default of 4 is usually
(otherwise triangles). sufficient. Set this number greater than 4 if parts
of your world were created 100,000 units away
Triangles—Writes only triangular faces.
from the center of the scene. Setting the value to 3
Visible Edges—Breaks faces at internal edges that reduces the file size.
are marked as being visible.
Show Progress Bar
Initial View Gives you the option to view a progress bar as the
Sets the entry camera for the scene and controls scene is exported.
what first appears in the browser. If there are no
cameras in the scene, the scene appears with a Vertex Color Source group
default viewpoint (which may give only a partial Lets you choose the source for the vertex color
view). when Color Per Vertex is turned on.
All scenes should have at least one camera, so Use VIZ’s—Exports the current vertex color of the
you can control how the scene initially renders. object defined in the scene.
Add more cameras to the scene than you might
ordinarily use, so the viewer can switch between Calculate on Export—Calculates the diffuse color at
cameras if his VRML97 browser allows it. This the vertices during export, based on the current
lets you set up your scene with pre-installed lighting and the objects’ materials.
vantage points. Otherwise, if the world is very
large, it can overpower the viewer’s system and Bitmap URL Prefix group
make navigation difficult. Some browsers animate Lets you specify a URL prefix for bitmaps assigned
camera moves, so the extra cameras can make to objects in the scene. You must keep all your
viewing the scene more pleasant. texture bitmaps in either the same directory as the
.wrl file or in one other location, which you specify
Initial Navigation Info here. If your maps are stored in other locations,
Specifies the Navigation Info helper object (page you will have to manually search for the map in the
3–242) to use when the world loads in the browser. .wrl and change its location. Not all browsers will
display error messages if the maps aren’t found on
Initial Background the WWW server.
Specifies the Background helper object (page Use Prefix—Enables the prefix mechanism. If this
3–248) to use when the world loads in the browser. box is turned off, image maps must be in the same
location as the .wrl file.
Initial Fog
Prefix—Adds the prefix you enter here to the
Specifies the Fog helper object (page 3–243) to use names of all assigned bitmaps. The name can be
when the world loads in the browser. a full URL (beginning with HTTP), or it can be a
relative path (a subdirectory of the location of the
VRML97 file). For example, if you enter "Maps"
for the prefix, when the browser opens a VRML97
VRML97 Export 237
file that has a texture map assigned to it, it will Exporting to VRML97 (page 3–234)
look for the subdirectory "Maps." “Maps” must
VRML97 Tips (page 3–237)
be a directory that is directly under the directory
where the VRML97 file resides. Using the Polygon Counter Utility (page 3–239)
Use forward slashes (not backslashes) to enter VRML97 Specification (page 3–239)
longer paths. For example, Autodesk VIZ
2006/maps. Procedures
To create VRML97 files:
Sample Rate
1. Create the objects that make up the scene.
Displays a dialog that lets you specify sample rates
2. In the Create , choose Helpers .
for controller-based and coordinate-interpolated
animation, as well as the Flip-Book output rates. 3. Use the tools in the VRML97 Helpers (page
Setting sample rates lets you trade off between 3–240) to add actions and triggers and prepare
animation fidelity and file size. The default values the scene.
give good results in most cases. For the greatest 4. Choose File > Export and export the scene in
animation precision, use a lower number (a higher the VRML97 format.
sampling rate).
5. Open the VRML97 file in the browser and test
it.
World Info
Lets you enter information about the world. This Interface
has no effect on the visual appearance or behavior
The VRML97 exporter supports the following:
of the world. Some browsers can display what
you enter in the Title field, for example, in the Lights—All VRML97 light types: direct, omni, and
browser window’s title bar. You can use the Info spot.
field to provide author, version, and copyright
Cameras—Free and targeted cameras.
information.
Primitives—Sphere, cone, box, and cylinder
primitive objects. These objects export as
VRML97 primitive objects. This helps reduce the
size of VRML97 files.
VRML97 Export Animation—All position, rotation, and scale
Vrmlexp.dle is for creating and exporting scenes in animation on objects, as well as animated
the VRML97 format. VRMLEXP exports .wrl files, hierarchies, and all controller types.
which can be viewed in any VRML97 browser.
Make sure that you have the most current
VRML97 Tips
version of your VRML browser and check its
documentation to insure that it supports VRML97. The following tips will help you make your work
look as good as possible and display and move as
This documentation covers:
fast as possible.
VRML97 Helper Objects (page 3–240)
Geometry Whenever you use a Mirror transform, use the

Reset Transform utility immediately afterward.
Use small texture maps, and use them sparingly.
You can also use a Normal modifier immediately
Keep the polygon count of your objects down
followed by Unify Normals. VRML97 does not
to achieve good performance. A complete scene
allow mirror transforms (negative scales). The
with a maximum of 5,000 to 10,000 polygons is
Reset Transform utility modifies the data in the
manageable for most computers. The Level of
actual mesh object to create the mirroring effect.
Detail (page 3–245) helper lets you manage the
polygon count of objects in the scene. You can also Don’t change units when modeling for VRML97.
use the software’s Optimize modifier to simplify To model in meters, keep the units set to the
objects before exporting them to VRML97. default and use one world unit as one meter.
Use primitives whenever possible. For example,
a scene containing only a sphere exports to a
Animation
VRML97 file of about 400 bytes, but if you apply When scenes using the Inherit Links function
an edit mesh modifier and move one vertex on the are exported to VRML97, child objects always
sphere, the VRML97 file is about 7,400 bytes. inherit their parents’ transforms. Inverse
kinematics export correctly to VRML97 with the
Use the Polygon Counter (page 3–239) to keep
exception of the Inherit Links function, which
track of the number of faces in your scene.
determines whether child objects inherit the
Call your VRML97 .wrl files from a standard transforms of parent objects.
HTML page and constrain the viewer to a limited
Always use TCB controllers for VRBL
window on the screen using the embed command.
animations. These controllers provide precise
This decreases the number of pixels that must be
control and generate the smallest possible file size.
rendered on every frame and makes the VRML97
Other kinds of controllers, such as the default
environment more responsive. Many users use
Bezier controller, create larger VRML97 files that
high resolution (800x600 or more), so the number
do not perform as well.
of pixels during rendering and navigation can
be large and the video display may slow down. Make sure your animations never change the
Frames may be dropped as the browser attempts face or vertex count over time. VRML97 can
to keep up its real-time rendering, and navigating not add or delete faces or vertices over time.
the scene will become "chunky.” Use the embed CoordinateInterpolators support morphing a
command to avoid this, for example, <embed mesh only, not changing the number of vertices
SRC=myworld.wrl WIDTH=300 HEIGHT=200> or faces.
Hide faces on an object in the software, then To trigger an animation that is not on an
export the object. The hidden faces appear as a object at the top-level of the software’s linking
hole in the object. While the VRML97 plug-in can hierarchy, use a TimeSensor helper object. If you
export hidden objects, it does not export hidden trigger an animation directly from a TouchSensor
faces. Hide faces that you know will never be or ProximitySensor, without a TimeSensor, you
visible in the scene, such as the backs of objects or can animate only top-level objects. Animating
the bottom faces of objects resting on a surface. from TimeSensors does not have this limitation.
Use instances to reduce file size for objects that Turn off the Generate Primitives toggle
have the same geometry. in the Export dialog if you animate the
Using the Polygon Counter Utility 239
parameters of primitives (like the radius of a Helper Objects

sphere), and want the animation exported with
Insert VRML helper objects into your scene in
CoordinateInterpolators. This applies to box,
the top viewport. You can insert VRML helper
sphere, cylinder and cone primitives only.
objects in any view, but if you insert them in the
top viewport, they appear properly oriented in the
Materials front viewport.
You can export only standard and multi/sub-object
materials, and only the following components of
the material: Using the Polygon Counter Utility
• Diffuse, ambient, and specular color When producing worlds with a small number
• One texture map, which must be in the Diffuse of faces, use the Polygon Counter utility (page
channel 2–614). The counter displays a dialog that shows
the number of polygons in the current scene, as
Use JPEG or PNG format for your
well as the number of polygons in the current
maps, because they are recognized by all
selection set. Use the spinners on this dialog
VRML97-compliant browsers and generally
to set a budget for both of these values. A bar
create the smallest files. (Some older browsers
graph changes from green to yellow to red as you
may recognize GIF format and not PNG.)
approach and exceed the allocated budget.
Multi/sub-object materials export colors and
textures. If an object has a multi/sub-object
Procedure
material with textures, it exports as separate
objects in VRML97, since VRML97 does not To display the Polygon Counter utility:
support more than one texture map per object. • From the Utilities panel, click More and then
Texture maps slow down the browser and select Polygon Counter from the Utilities
increase download time. Use them sparingly. dialog.
• Shininess (but not shininess strength) This opens the Polygon Count dialog for setting
• Opacity your budget polygon count for selected and all
objects in the scene.
• Wire frame
Make sure that all large flat surfaces have enough
vertices in them that a few vertices can be seen VRML97 Specification
from all reasonable vantage points in your scene.
You can find the complete VRML97 specification
Some browsers cannot display textures on an
at http://www.web3d.org/x3d/vrml/index.html.
object where all of its vertices are outside the
current viewport. This document describes the entire VRML97
language and provides technical details on the
If you have several lights in you scene, lower the
behavior of exported VRML97 worlds.
default multiplier value on all the lights in the
scene. Lights can oversaturate the scene and make
all your geometry wash out toward white. Always
add at least one camera and one light to a scene
exported to VRML97.
Procedure
VRML97 Helper Objects To set up an Anchor to jump to another VRML world:
The VRML97 Helpers appear when you click 1. Add an Anchor helper object by pressing the
Helpers in the Create panel and choose one of the Anchor button and then click-dragging in the
VRML97 Helpers from the Object Type rollout. Top viewport to create its icon.
Insert a VRML 97 Helper into the scene by clicking 2. Pick a Trigger Object in the scene that will be
and dragging at the desired location. the object the viewer clicks while browsing.
Note: Some helper objects (for example, Billboard 3. Choose Hyperlink Jump and designate a URL
and Level Of Detail) are position-sensitive, so be to jump to.
careful how and where you insert them. Usually,
4. When the user clicks the Trigger Object
you have the most control by creating the helper
geometry, the browser will replace the current
object in the Top viewport.
scene with the designated URL.
Anchor VRML97 Helper (page 3–240)
Interface
ProxSensor VRML97 Helper (page 3–241)
NavInfo VRML97 Helper (page 3–242)
Fog VRML97 Helper (page 3–243)
Sound VRML97 Helper (page 3–243)
LOD VRML97 Helper (page 3–245)
TouchSensor VRML97 Helper (page 3–246)
TimeSensor VRML97 Helper (page 3–247)
Background VRML97 Helper (page 3–248)
AudioClip VRML97 Helper (page 3–249)
Billboard VRML97 Helper (page 3–250)
Inline VRML97 Helper (page 3–251)
Anchor VRML97 Helper

Create panel > Helpers > VRML97 > Object Type rollout
> Anchor
The Anchor rollout lets you specify a click-to-play

trigger in the scene. This trigger will be linked to a
currently existing object in the scene. This allows
you to add links to other HTML pages, VRML97
worlds, or alternate cameras in your VRML97
world.
ProxSensor VRML97 Helper 241
The Anchor rollout contains the following options:

ProxSensor VRML97 Helper
Pick Trigger Object—Specifies the geometry that
will be the trigger for this anchor. Click this Create panel > Helpers > VRML97 > Object Type rollout >
ProxSensor
button, then select the geometry.
Description—Lets you enter a text description or The ProxSensor helper creates a VRML97
message that will appear in the browser’s status ProximitySensor node. This lets you set up a
bar when the mouse is over an object that has an rectangular region in space, so that entering the
Anchor action defined for it. region in a VRML97 browser starts a set of objects
Hyperlink Jump—Creates an Anchor that jumps
animating.
to a URL.
Procedure
URL—Specifies the location for Hyperlink Jump.
To create a Proximity Sensor object:
Use your Bookmarks list, or enter a location
manually. If the URL points to another VRML97 1. Add a Proximity Sensor object by pressing the
world (a .wrl file) you can append "#CameraName" ProxSensor button and then click-dragging in
to the end of the URL to have the browser use the the Top viewport to create its icon.
viewpoint named "CameraName" as the initial 2. Select the geometry, camera, or sound to
view. control.
Bookmarks—Lets you select a URL location from When the user navigates inside the box, the
a list of bookmarks. Click Import List to import specified objects animate or the sound plays.
the list of bookmarks defined in your browser, or
manually enter new URLs into the list. Interface
Parameter—Lets you specify additional browser
parameters for the hyperlink jump. See the
VRML97 specification (page 3–239) for the uses
of this field.
Set Camera—Creates an Anchor that jumps to a
given camera in the current VRML97 world.
Camera—Specifies the name of the camera for Set
Camera.
Icon Size—Determines the size of the helper in the
scene.
The Prox Sensor rollout contains the following Interface

options:
Length/Width/Height—Specifies the dimensions of
the bounding box that triggers the action.
Enable—Activates the Proximity Sensor. When
this check box is turned off, the sensor has no
effect, even if objects have been selected.
Pick Action Objects—Specifies the objects in the
scene to control with this helper. The objects
can be animated geometry, cameras, lights, or
AudioClips. Click this button then click the
objects in the viewports.
Delete—Deletes an object from the list of picked
objects.
The NavigationInfo rollout contains the following

NavInfo VRML97 Helper options:
Create panel > Helpers > VRML97 > Object Type rollout Type—Specifies the type of movement (Walk,
> NavInfo Examine, Fly, and None) for navigating the world.
Implementation of these movement types may
The NavInfo helper lets you create a VRML97 vary from browser to browser.
NavigationInfo node. This tells the browser how
Headlight—Places a directional light at the
to navigate around the VRML97 world.
viewpoint. The light always points in the direction
Procedures the user is looking.
Tip: Don’t use this option if you have lights in the
To create a NavInfo helper:
scene.
1. Add a NavInfo helper by pressing the NavInfo
button and then click-dragging in the Top Visibility Limit—Sets the far clipping plane. Any
viewport to create its icon. geometry beyond this point is invisible. The
smaller this value is, the closer the clipping plane
2. Use the controls to adjust the behavior of the
is to the camera. The larger this value is, the more
helper.
of your scene is visible to the camera. A value of 0
turns off the effect, making everything in the scene
visible. Use this option to show just part of large
scenes.
Speed—Determines the speed of navigation in
units per second. Use this option to allow the user
to travel faster, if you’re building a large world (like
a cityscape), and slower, if you’re building a small
world (like a room).
Fog VRML97 Helper 243
Avatar Size—Specifies the user’s physical Interface

dimensions in the world, to detect collision
distance and follow terrain.
Collision—Specifies the allowable distance between
the user’s position and any collision geometry
before a collision is detected. For example, you
can set this so that a collision is detected one unit
in front of a wall.
Terrain—Specifies the height above the surface to
maintain when following terrain.
The Fog rollout contains the following options:
Step Height—Specifies the highest object that can
be "stepped over." If an object like a staircase has Type—Specifies the fog type (linear or
steps that are lower than this value, the user can exponential). Linear means that the amount
go up. of blending is a linear function of the distance,
resulting in a depth-cueing effect. Exponential
Icon Size—Adjusts the size of the helper object in uses an exponential increase in blending, resulting
the viewports. in a more natural fog appearance.
Color—Lets you select the fog color from the Color
Fog VRML97 Helper Selector dialog.
Visibility Range—Specifies the distance from the
> Fog viewer at which objects are totally obscured by the
fog. The smaller this value is, the closer the fog is
The Fog helper lets you specify the color and range to the camera, and the less your scene is visible.
of fog in your VRML97 world. You can simulate The larger this value is, the more of your scene is
atmospheric effects by blending objects with a visible to the camera. A value of 0 turns off the
color based on the objects’ distances from the effect, making everything in the scene visible. A
viewer. For the best visual results, the background value of 0 means that there is no fog effect.
(which is unaffected by the fog) should be the
Icon Size—Adjusts the size of the helper object in
same color as the fog.
the viewports.
Procedures
To create a VRML 97 Fog helper: Sound VRML97 Helper
1. Add a Fog helper by pressing the Fog button,
then click-drag in the Top viewport to create > Sound
its icon.
2. Use the controls to adjust the type of fog in your The Sound helper lets you place 3D (spatial) or
VRML environment. ambient sounds in a scene. The sound may be
located at a point and emit sound in a spherical
or ellipsoid pattern. The ellipsoid is pointed in a
particular direction and may be shaped to provide
more or less directional focus from the location Interface

of the sound. The sound node may also be used
to describe an ambient sound that tapers off at a
specified distance from the sound node.
The red ellipsoid of the helper represents the
outermost range for which the sound can be
heard. The blue ellipsoid represents the range of
the maximum strength of the sound. The area
between the red and blue ellipsoids represents a
falloff area in which the volume varies in intensity.
The helper’s arrow points in the direction toward
which the sound is emanating.
Note: The Sound helper object must be linked to
an existing audio clip in the scene. Therefore,
you must have an AudioClip (page 3–249) helper
object in the scene in order for the Sound helper
to play.
Procedures
The Sound rollout contains the following options:
To create a Sound helper object:
Intensity—Sets the loudness of the sound. 1.0 is
1. Add a Sound helper by pressing the Sound
full volume.
button, then click-drag in the Top viewport to
create its icon. Priority—Sets the relative importance of the sound,
2. Press Pick Audio Clip and select an AudioClip

if you have more than one sound in the scene and
helper object in the scene. the browser cannot play all of them. 0 is least
important. 1 is most important.
3. Rotate the icon to determine the direction in
which the sound is emanated. Spatialize—Makes the sound 3D. A spatial sound
has a particular source location in the scene. If this
4. Use the controls to adjust the range and
box is turned off, the sound is ambient.
strength of the playback sound.
Min Back/Front, Max Back/Front—Displays red and
blue ellipsoids that allow you to set the area of the
sound effect. Inside the blue ellipsoid, the sound is
at full volume. Outside the red ellipsoid, the sound
is inaudible. Between the blue and red ellipsoids
is a falloff area in which the volume varies in
intensity.
Pick Audio Clip—Lets you choose an audio clip.
Click this button, then click an AudioClip helper
object. The audio clip must already be in the scene
and have a sound file associated with it.
LOD VRML97 Helper 245
Icon Size—Determines the size of the helper in the To create all the objects and the LOD helper object at
scene. exactly the same coordinates:
1. Create the LOD helper object.
2. You can use Snap and create the helper object
LOD VRML97 Helper
at the origin (0,0,0 coordinates), or use the
Create panel > Helpers > VRML97 > Object Type rollout Keyboard Entry rollout for a Standard Primitive
> LOD to specify an exact object origin.
3. Create the object with the most detail at the
The Level of Detail (LOD) helper lets you
specify objects with varying face counts that same coordinates. Name it (for example,
are appropriate for different viewing distances. hicapsule).
Browsers display the less detailed objects when the 4. Choose Edit/Clone.
viewer is far away from them and substitute the In the Clone Options dialog, choose Copy
more detailed objects at closer ranges. and name the new object (for example,
Use LOD objects to speed up rendering of scenes medcapsule).
in which highly detailed objects are often far away 5. Repeat step 3 to create the other objects (for
from the viewer. example, locapsule).
Objects used for LOD do not have to be of the For the medium and low resolution objects,
same type or size, so you can accomplish a crude apply an Optimize modifier to reduce the face
form of morphing by using different objects as count.
the LOD components. For example, a tree might For primitives, you can reduce the face count
seem to grow if taller trees with more limbs are by changing the creation parameters in the
substituted as the viewer gets closer. modifier stack.
Procedures Interface
To create a Level of Detail helper object:
1. Create the objects to which you want to add
level of detail.
2. Click the LOD button.
3. Click and drag in the scene to create a helper
object.
4. Add the objects to the list with Pick Objects.
5. Use the Hide and Unhide commands, or the H
key, to help pick the objects and add them to
the LOD list.
6. Select the objects in the list and use the Distance
spinner to set the distance.
The Level of Detail rollout contains the following When the user clicks the trigger geometry, the
options: geometry, camera or light animates, or the
sound plays.
Pick Objects—Selects objects of different face
counts to substitute for the LOD helper object.
Interface
Create all the objects and the LOD helper object at
exactly the same coordinates.
Distance—Sets the distance from the camera
at which the user sees the selected object. The
distance specified for the object appears next to
the object name. For example:
hicapsule - 100 medcapsule - 300 locapsule 500
Hicapsule is displayed when the distance between
it and the camera is within 100 units. The lower
resolution object (medcapsule) is displayed when
the camera is between 100 and 300 units. The
lowest resolution object (locapsule) is displayed
when the camera is beyond 300 units. The greatest
distance (500 in this case) is not actually used, but
must be supplied.
Delete—Deletes the selected object from the list.
Icon Size—Sets the size of the LOD helper object.

The Touch Sensor rollout contains the following
options:
TouchSensor VRML97 Helper Pick Trigger Object—Specifies the geometry that
Create panel > Helpers > VRML97 > Object Type rollout will be the trigger for this TouchSensor. Click this
> TouchSensor button, then select the geometry.
Enable—Activates the Touch Sensor. When this
The TouchSensor helper lets you set up an object
so that selecting it in a VRML97 browser starts a box is turned off, the sensor has no effect, even if
set of objects animating. objects have been selected.
Pick Action Objects—Specifies the objects in the
Procedure scene to control with this helper.
To set up an object as a TouchSensor trigger: Delete—Deletes an object from the list of picked
1. Add a Touch Sensor object by pressing the objects.
Touch Sensor button and then click-dragging
Icon Size—Determines the size of the Touch Sensor
in the Top viewport to create its icon.
helper in the scene.
2. Select the geometry to control.
TimeSensor VRML97 Helper 247
Interface
TimeSensor VRML97 Helper
Create panel > Helpers > VRML97 > Object Type rollout >
TimeSensor
The TimeSensor helper lets you add time-based

animation controls, such as the start and end
frames for a particular object’s animation,
and looping. Use this helper to split up an
object’s animation keys over several triggers, to
automatically start an animation upon loading the
.wrl file, or to make animation endlessly loop.
Procedure
To assign an object to a TimeSensor helper:
1. Add a Time Sensor object by pressing the Time
Sensor button and then click-dragging in the
Top viewport to create its icon.
2. Press Pick Objects and select the (animated)
geometry to control.
3. Use the controls to adjust the start and end The Time Sensor rollout contains the following
times of the animation, and to loop the options:
animation.
Loop—Repeats the animation from the start-time
frame to the stop-time frame.
Start on World Load—Starts the animation so that
it will be running when the file is loaded into the
browser.
Note: This option is only available when Loop is
turned on. Otherwise, the animation will start and
stop at the specified times.
Start Time/Stop Time—Specifies the range of
frames to play.
Note: If the start time is after the end time, the
animation will play from the earliest frame to the
last frame. It will not play the animation backward.
Pick Objects—Lets you select the objects to control
with this TimeSensor.
Delete—Deletes an object from the list of picked Interface

objects. Sky Colors rollout
the viewports.
Background VRML97 Helper

Background
The Background button displays the Sky Color,

Ground Color, and Images rollouts. Use these
rollouts to specify colors and images for the sky
and ground in your VRML97 world.
Procedure
To create a Background helper object:
1. Add a Background helper object by pressing
the Background button, then click-drag in the
Top viewport.
2. Use the controls to adjust the colors and layout
of the background.
Lets you provide a colored background to the
world’s sky using a gradient of up to three colors.
The sky is an infinite sphere that encloses the
objects of the scene.
Number of Colors—Specifies whether the sky is one
solid color or a gradient of two or three colors.
Color One/Two/Three—Lets you select the colors
from the Color Selector. Color One is the base
color.
Angle—Specifies the angle at which Color Two and
Color Three merge with the base color, in degrees
from the North pole of the sky (straight up from
the viewer).
the viewports.
AudioClip VRML97 Helper 249
Ground Colors rollout Images rollout
Lets you specify a set of images that define a

background panorama between the ground/sky
backdrop and the objects in the scene. The
panorama consists of six images, each of which
is mapped onto a face of an infinitely large cube
Lets you provide a colored background to the centered in the local coordinate system.
world’s ground plane using a gradient of up to
Image URLs—Specifies the location/file names of
three colors. The ground appears inside the sky
the images to use. The images can be JPEG files
sphere and below the objects of the scene.
or PNG files with or without transparency. Some
Number of Colors—Specifies whether the ground is browsers also support GIF files.
one solid color or a gradient of two or three colors.
See the VRML97 specification (page 3–239) for
Color One/Two/Three—Lets you select the colors diagrams of the typical image configuration.
from the Color Selector. Color One is the base
color.
Angle—Specifies the angle at which Color Two and
AudioClip VRML97 Helper
Color Three merge with the base color, in degrees Create panel > Helpers > VRML97 > Object Type rollout
from the South pole of the sky (straight down > AudioClip
from the viewer).
The AudioClip rollout lets you specify the name
and characteristics of an audio file that can be used
by the Sound helper.
Procedures
To create an AudioClip helper:
1. Press the AudioClip button, and click-drag in
the Top viewport to create the helper.
2. Enter the location of the sound file (.wav or

.mid) you want to use in the URL text box. Billboard VRML97 Helper
Interface Billboard
The Billboard helper lets you create geometry

that is camera-aligned in the VRML97 browser.
The objects always align to the viewpoint in the
VRML97 browser.
Any geometry linked to the Billboard helper will
rotate about the local Z axis of the helper object to
face the viewer. Since it rotates about the location
of the Billboard, it is best to center the Billboard on
the object that you will link to it.
The direction of the negative Y axis of the object,
which will be its front, is aligned with the negative
Y axis of the helper, and will be the Billboard
surface that always faces the viewer. This is the side
The rollout contains the following options: usually seen from the default camera position.
URL—Specifies the location/file name of the sound
to use. Either.wav (waveform) or .mid (MIDI) Procedures
files can be used, but MIDI sound files may not be To create a Billboard helper object:
spatialized. Some browsers do not support MIDI. 1. Press the Billboard button and click-drag in the
Description—Lets you enter a text description of Top viewport to create the helper.
the sound, which is displayed by some browsers. 2. Link object(s) to the billboard to keep them
Pitch—Sets the relative pitch of the sound. 1.0 is aligned with the camera.
normal pitch, and 0.5 is one octave lower than
normal. Interface
Loop—Repeats the sound.
Start on World Load—Starts playing the sound as

soon as the world is loaded into the browser.
Icon Size—Determines the size of the AudioClip
helper in the scene. The Billboard rollout contains the following
option:
Screen Alignment—Keeps the geometry linked to
the Billboard helper aligned, even when the viewer
elevates, pitches, and rolls.
Inline VRML97 Helper 251
Icon Size—Determines the size of the Billboard The VRML Inline rollout contains the following
helper in the scene. options:
Insert URL—Specifies the URL of the .wrl files to
insert in place of the helper object. The URL must
Inline VRML97 Helper be another VRML97 file.
Inline Bookmarks—Displays a dialog that lets you select
a location from a list of bookmarks. Click Import
The Inline helper lets you reference another List to import the list of bookmarks defined in
VRML97 file that is included in your world when your browser. Most browsers store bookmarks in a
you load it into your VRML97 browser. These file called bookmark.htm.
inline objects are like instance objects, but they Bounding Box—Specifies whether an explicit
function at the browser level. bounding box size will be exported. If you select
“Use Icon Size,” the diameter of the icon will
Procedure be written into the VRML97 file for the width,
To create an Inline helper object: length, and height of the bounding box; the actual
1. Click the Inline button.
contents of the inline file should fit within that
bounding box. If you select “Calculate in Browser,”
2. Click and drag in one of the viewports. no bounding box size is exported and the VRML
You can modify the helper object with the tools browser will determine the size of the inline
in the VRML Inline rollout. geometry.
Icon Size—Sets the size of the helper object. You
Interface
can transform this object like any other object in
If you create the objects in the scene to be inserted the software. The scene that replaces the helper
off-center (away from the origin), they will appear object will be moved, rotated, or scaled in the same
in the browser off-center as well. Align the original manner. The size shown is the radius of the icon.
scene and the scene to be inserted correctly, in
relation to the origin.
Image File Formats

Image files, also known as bitmaps, have a variety
of uses in Autodesk VIZ scenes. You can use
bitmaps as textures for materials, as backgrounds
to viewports, as environment maps, or as images
projected from a light.
An image file can be a single still image, or a
sequence of images that form a video sequence
or animation. When you assign an animation for
use as a bitmap, then the image changes over time
when you render the Autodesk VIZ scene.
Note: Bitmaps are reloaded automatically after RPF Files (page 3–274)
they have been changed and resaved by a graphic
RGB (SGI Image) Files (page 3–276)
editing program. See the Reload Textures On
Change toggle in File Preferences (page 3–548). TGA (Targa) Files (page 3–276)
When you render a scene, you can render a still TIFF Files (page 3–277)
image or an animation. You can render to most
YUV Files (page 3–278)
of the formats listed below. Some of the formats
support various options. If there are output Note: To save loading time, if a map with the
options, these appear in a dialog that is described same name is in two different locations (in two
along with the image file’s format. different paths), it is loaded only once. This poses
a problem only if your scene includes two maps
These are the image file formats supported by that have different content but the same name.
Autodesk VIZ: In this case, only the first map encountered will
AVI Files (page 3–252) appear in the scene.
BMP Files (page 3–253)

CIN (Kodak Cineon) Files (page 3–253) AVI Files
CWS (Combustion Workspace) Files (page 3–254) The AVI (Audio-Video Interleaved) format is
the Windows standard for movie files. The .avi
DDS Files (page 3–254) file-name extension indicates a Windows AVI
EPS and PS (Encapsulated PostScript) Files (page movie file.
3–254) Autodesk VIZ creates an AVI created when
FLC Files (page 3–255) you make a preview animation (page 2–1451).
You can also render your final output to an
GIF Files (page 3–255) AVI file. Although Autodesk VIZ produces its
HDRI Files (page 3–256) highest-quality output by rendering single-frame
TGA files or rendering directly to a digital disk
IFL Files (page 3–259)
recorder, you can still get good results rendering
IMSQ Files (page 3–262) AVI files.
JPEG Files (page 3–263) AVI files can be used as input to Autodesk VIZ in a
couple of ways; for example:
MOV (QuickTime Movie) Files (page 3–263)
• As animated materials in the Material Editor
MPEG Files (page 3–264)
• As viewport backgrounds for rotoscoping
OpenEXR Files (page 3–264)
PIC Files (page 3–270) Interface
When AVI is the chosen output format, clicking
PNG Files (page 3–271)
Render or Setup on the Render Output File dialog
PSD Files (page 3–271) (page 2–1322) displays the Video Compression
RLA Files (page 3–273) dialog.
BMP Files 253
BMP Files
BMP files are still-image bitmap files in the
Windows bitmap (.bmp) format.
Interface
When BMP is chosen as the output format,
clicking Render or Setup on the Render Output
File dialog (page 2–1322) displays the BMP
Compression dialog.
Compressor—Use the drop-down list to choose the

codec (page 3–664) (compressor/decompressor)
you want to use to compress the file. You can use
any codec that’s installed on your system.
Alternatively, you can render uncompressed
frames and then use an external application to 8 Bit Optimized palette (256 Colors)—Choose to
compress the animation. Video-file compression is render a smaller, 8-bit color file.
a complex subject, with many aspects to consider. RGB 24 bit (16.7 Million Colors)—Choose to render
Compression Quality—Available only for certain a larger, true color (24-bit) file.
codecs. When available, use the slider to specify
the quality you want. The higher you set the
quality, the larger the file size will be. CIN (Kodak Cineon) Files
Keyframe Rate—Available only for certain codecs. A file format that stores a single frame of a motion
When available, use this setting to specify the picture or video data stream. Each frame is
interval between the delta keyframes used to saved as cineon version 4.5 with a CIN file-name
compare one frame with another and generate extension. The file contains no user-defined data
in-between frames. Too large an interval will such as a thumbnail, and supports 10-bit log, and
create loss of quality in the AVI file as a whole. three colors per pixel. Alpha channels are not
supported.
Setup—Available only for certain codecs. Click
this button to see any additional options that are
Interface
specific to the codec. These are vendor specific
and vary from codec to codec. When CIN is chosen as the output format, clicking
(page 2–1322) displays the Cineon Image File
Format dialog.
DDS Files
The DirectDraw® Surface (DDS) file format is
used to store textures and cubic environment
maps, both with and without mipmap levels. This
format can store uncompressed and compressed
pixel formats, and is the preferred file format for
storing DXTn compressed data. Microsoft® is the
developer of this file format.
DDS is supported only as an input file format. You
can use DDS files as texture maps.
Printing Density Adjustment—Represents the
transfer function from printing density (10-bit
log) to 16-bit linear with the white point mapped
to a maximum code value of 65535.
EPS and PS (Encapsulated
PostScript) Files
Conversion of logarithmic printing density to a
linear representation requires both a scaling and Autodesk VIZ can render images to Encapsulated
an anti-log operation. With 16-bits linear, it is PostScript format files, which have the .eps or .ps
possible to maintain the full printing density extension.
range. The 90% white card at code value 685 is PostScript is an Adobe page-description language
mapped to maximum code value of 65535. for encoding graphics images. It is supported
The White Pt and Black Pt spinners let you adjust by many printing devices and is widely used
the 90% white code and the 2% black code. in desktop publishing and graphic design as a
means of porting images from one platform to
another. You can not view PostScript files with
CWS (Combustion Workspace) Autodesk VIZ or use them as bitmaps in materials
or environments.
Files
The file format for the Combustion™ software Interface
from Autodesk. CWS is a resolution-independent,
When PostScript is the chosen output format,
vector/raster file format.
clicking Render or Setup on the Render Output
You can use CWS files in conjunction with the File dialog (page 2–1322) displays the EPS File
Combustion map (page 2–1213). You can’t use Output Options dialog.
a CWS file as a general-purpose bitmap. You
can also generate a CWS file by using the Render
Elements option (page 2–1426) when you render
a scene.
Important: Only Combustion 2.1 and later formats are
supported. Maps in the Combustion 1 format are not
supported in Autodesk VIZ 2006.
FLC Files 255
file-name extension. Flic files can also have a .cel

file name extension.
Flic files are restricted to a maximum of 256 colors
(8-bit).
Interface
When a flic file is the chosen output format,
clicking Render or Setup in the Render Output
File dialog (page 2–1322) displays the FLC Image
Control dialog.
Units—Select inches or millimeters.

Palette Method—Select the method to use to create
Image Orientation—Select portrait (tall) or the 256-color palette for the file. Low builds the
landscape (wide). palette based on the first frame. Medium builds
Data Format—Select binary or ASCII. a 256-color palette for every frame and then
optimizes them into a single palette. Custom
File Type—Select color or grayscale. uses the palette of another file that you specify.
Preview—Check to generate a thumbnail image so Uniform uses a generic set of colors for cases in
that file browsers can preview the contents of the which you want to use a set of flic files to all have
PostScript file. the same standard colors.
Page Size—Set width and height measurements. Number of Palette Colors—Set the number of colors
up to 256. If you specify a number less than 256,
Resolution—Set width and height resolution in
the remaining slots in the palette are filled with
dots per inch (dpi). black.
FLC Files GIF Files

The FLC (flic) file format is an Autodesk format GIF is an 8-bit (256-color) format developed
for digital animations. by Informix for the CompuServe® information
There are two slight variations of this format. service. It was originally designed to minimize file
Animations created by the earlier Autodesk transfer times over telephone lines.
Animator® program have the .fli file name GIF is supported only as an input file format. You
extension; the later Animator Pro® and 3D Studio® can use GIF files as general-purpose bitmaps, but
R4 products create animation files with a .flc you can’t render to a GIF file.
the majority of the graph, and the preview

HDRI Files image is satisfactory.
HDRI is a file format used for high-dynamic-range Tip: For the Internal Storage option, use the
images. Most cameras don’t have the capability default choice of 16 bit/chan Linear (48bpp)
to capture the dynamic range (the gamut of unless you have a specific reason for doing
luminances between dark and bright regions) that otherwise.
is present in the real world. However, the range 6. When you have finished adjusting values, note
can be recovered by taking a series of pictures of the Linear White Point value, and click OK to
the same subject with different exposure settings, accept the settings.
and combining them into one image file.
7. In the Material Editor, expand the Output
This type of image is called a high dynamic range rollout. Set the RGB Level to the same value
image (HDRI) or radiance map. HDRI files have as the Linear White Point value on the HDRI
an .hdr extension and radiance maps have a .pic Load Settings dialog.
extension. The file actually contains all the data
The result is a map with a wide range of deep
from all the pictures, so a wide luminance range
blacks and very white highlights. If such an
is present, from bright, white highlights to the
image is used as both a background in the
darkest black.
rendering and a reflection map on an object,
HDR files are particularly useful as backgrounds the object will appear to be extremely shiny and
for compositing, and as reflection maps on reflective.
composited objects. When using a HDR image
as a skylight, use the parameters in the Exposure Interface
group to control the brightness of the scene. HDR Load Settings dialog
Procedure When you open a HDR file as a bitmap, the HDR

Load Settings dialog appears. This dialog allows
To use a HDR image as a background, or as a diffuse
you to specify the luminance range to use from the
or reflection map:
image, and the method for storing the data.
1. In the Material Editor, choose Bitmap as the
map type.
2. On the Select Bitmap Image File dialog, under
Files Of Type, choose Radiance Image File
(HDRI). Open the HDR file you would want
to use.
The HDRI Load Settings dialog appears, with
the image displayed in its preview window.
3. On the HDRI Load Settings dialog, look at the
Measured Min/Max values to see the luminance
range for the image.
4. Turn on Black Point.
5. Adjust the Black Point and White Point values
until the red lines on the histogram encompass
HDRI Files 257
clamped to black. When this option is turned off,

the lowest possible value is used as the Black Point.
Measured Min/Max—Displays the actual minimum
and maximum luminance values in the image,
expressed as both the logarithmic and linear
values. Using these values for the Black Point
and White Point will result in the image’s full
luminance range being used. However, the
histogram might show that the majority of the
luminance levels fall into a much smaller range.
White Point—Sets the luminance value that you
would like to be considered the brightest color,
or “white”, either as a logarithm (Log) or linear
value (Linear). All luminance values in the image
that are above this value will be clamped to white.
White pixel values inside HDR files can be much
Histogram—This graph shows the image’s larger than a Linear value of 1.
luminance values in a logarithmic scale. The red The image’s extended luminance range is used
lines indicate the current Black Point and White only when the White Point’s Linear value is set
Point values. above 1.0. In other words, setting White Point at or
The graph is visible only for luminance levels below a Linear value of 1.0 will not use any of the
with substantial representation in the image. In HDR image’s special luminance properties, and
other words, if a luminance level only applies will give results similar to other bitmap formats
to one or two pixels in the image, there will be such as TIF and JPG.
no corresponding graph line on the histogram. Log—Sets the Black Point or White Point as a
Compare with Measured Min/Max, which gives logarithmic value ranging from –128 to 127.
the entire range of luminance levels in the image. Changing this value changes the Linear parameter
In general, the resulting image will have the most to the corresponding value.
dramatic effect when the histogram is used to set Linear—Sets the Black Point or White Point as
the Black Point and White Point range values, a linear value ranging from 0 to over 1 trillion.
rather than using the full range expressed by Changing this value changes the Log parameter to
Measured Min/Max. the corresponding value.
Exposure group Preview window—Displays the selected HDR

image.
Black Point—When this option is turned on, you
can set the luminance value that you would like
Internal Storage group
to be treated as the darkest color, or “black”. The
value can be set as a logarithm (Log) or as a linear Real Pixels (32 bpp)—Compresses the luminance
value (Linear). All values below this value will be selections into a color space with 32 bits per pixel.
Premultiplied Alpha and Motion Blur do not work
with this option.
Def Exposure—When on, the image will load as is • Compositing: using 16–bit images in a
without applying any changes to the colors. When compositing pipeline can quickly become
off, you can use the parameters in the Exposure a problem as colors are manipulated. For
group to remap colors. Available only with the example, banding may appear.
Real Pixels option. • HDR images are not bound to a specific
16 bit/chan Linear (48 bpp)—Compresses the range (e.g., 0-255 or 0-65535); they have a
luminance selections into 16–bit color space, at 48 dynamic range. As such, high-contrast and
bits per pixel. This is the recommended setting. To physically accurate values can be stored in
decompress the luminance for use in the scene, set 32-bit floating-point pixels.
the RGB Level on the image’s Output rollout (page • Because of their large range of values, HDR
2–1195) to the same value as the linear white value images can easily be modified, and effects can
on this dialog. be reapplied long after rendering, without
8 bit/chan Linear (24 bpp)—Compresses the affecting the quality of the image. For example,
luminance selections into 8–bit color space, at 24 changing the contrast/brightness/exposure of a
bits per pixel. This compression method uses less 16-bit image could cause banding, which would
memory than other methods, but it is generally require re-rendering the image. However, the
not adequate to display the range of luminance in same operation on an HDR image should not
a HDR image, and can result in banding or other affect its quality.
artifacts. Clicking Save or Setup in the Render Output
Display scaled colors by—When on, this value File dialog (page 2–1322) displays the HDR Save
scales the preview image’s luminance value by the Settings dialog.
specified amount.
L—Locks the preview luminance scale to the white
linear value. When off, you can change the value
manually. Default=on.
Mark White clamp—Masks the white-clamped
values in the preview window with the color
indicated by the color swatch. Click the color
swatch to change this color.
Mark Black clamp—When Black Point is on, this
option masks the black-clamped values in the The dialog lets you choose the source of the values
preview window with the color indicated by the used for output:
color swatch. Click the color swatch to change this
• Higher dynamic range and color precision than
color.
existing 8- and 10-bit image file formats.
HDRI Save Settings dialog • Support for 16-bit floating-point pixels. The
pixel format, called "half," is compatible with
Autodesk VIZ can render and save images with
the half data type in NVIDIA’s Cg graphics
32-bit floating-point channels. Among the useful
language and is supported natively on their
applications for this type of imagery are:
IFL Files 259
new GeForce FX and Quadro FX 3D graphics of frames of rendered animation on which it is

solutions. used. For example:
• Multiple lossless image compression
algorithms. Some of the included codecs can
achieve 2:1 lossless compression ratios on
images with film grain. The IFL file listed above specifies sand.tga to be
• Extensibility. New compression codecs and used for the first 20 frames, pebble.tga to be used
image types can easily be added by extending for the next 40 frames, stone.tif to be used for 20
the C++ classes included in the OpenEXR frames, and boulder.tif to be used for 20 frames.
software distribution. New image attributes Tip: Specify only the file names in your IFL files.
(strings, vectors, integers, etc.) can be The file paths can be derived from the map paths
added to OpenEXR image headers without established in your preferences. See External Path
affecting backward compatibility with existing Configuration (page 3–532). IFL files with path
OpenEXR applications. names can be used only on the system on which
you create them.
See also
IFL File Format Image File List Control Dialog (page 3–261)
IFL Manager Utility (page 3–261)
IFL Files Sequentially Numbered Files

An IFL (Image File List) file is an ASCII file that You can use incrementally numbered bitmap files
constructs an animation by listing single-frame (for example, frame001.bmp, frame002.bmp, and
bitmap files to be used for each rendered frame. so on) to construct an IFL file. Either use the IFL
When you assign an IFL file as a bitmap, rendering Manager Utility (page 3–261), or use the Sequence
steps through each specified frame, resulting in check box in a file selector dialog, as described in
an animated map. the following procedures.
(In a similar way, if you assign an AVI file, FLC file,
or MOV file as a bitmap, rendering steps through
Procedures
each frame of the animation.) To construct an IFL file from sequentially numbered
files:
For example, if you assign a 10-frame FLC of a
1. In the file selector dialog, navigate to a directory
blinking red "Danger" sign to a material’s diffuse
that has a sequence of incrementally numbered
component, apply the material to a cube, and then
bitmaps.
render a 30-frame animation, the cube displays the
blinking red Danger animation three times. 2. Choose the name of one of the sequential files
(for example, image01.bmp).
The .ifl file lists the bitmap files to be used with
each frame. You can append an optional numeric The Sequence check box becomes available.
argument to each file name to specify the number 3. Turn on the Sequence check box.
The Setup button becomes available.
Image File List

4. Click Setup to display the The IFL file now provides the background for
Control dialog (page 3–261). the viewport.
5. In the Image File List Control dialog, choose Tip: The viewport background does not render.
the options you want, and then click OK. To render the IFL file’s animation, assign the
Tip: Use the Browse button to set the Target Path IFL file as a rendering environment. (See the
to a directory on your hard disk. Do not set this following procedure.)
path to a CD-ROM drive, because you cannot
To render the frames in an IFL file as a movie (AVI,
save the file there.
FLC, or MOV format):
The Image File List (IFL) file is saved to the
target directory.
2. On the Environment dialog, click Environment
6. In the file selector dialog, click OK.
Map.
This assigns the newly created IFL file as the
3. On the Material/Map Browser, choose Bitmap,
bitmap.
and then click OK.
Example: To select a set of still images as a viewport 4. On the Select Bitmap Image File dialog, choose
background: the IFL file, and then click OK.
1. Activate the viewport where you want the 5. Click Time Configuration, and use
animated background. the Time Configuration dialog to make the
2. Choose Views menu > Viewport Background. animation length match the number of frames
3. In the Background Source group, click Files. specified in the IFL file.
A Viewport Background dialog is displayed. 6. Render a viewport to a movie-format file.
4. On Select Background Image dialog, use the Tip: The aspect ratio of the rendered movie
Look In field to navigate to the directory should match the aspect ratio of the frames in
containing the files you want to use for the the IFL file.
sequence.
Notes
If necessary, change the file type to match the
file name extension of the sequence, or choose • If the IFL generator has a name conflict with an
All Formats. existing IFL file, it will increment the new file’s
name to avoid overwriting the existing file.
Note: The Select Background Image File dialog
uses the last location where a bitmap was • If the IFL generator has any problems with
chosen, rather than the default bitmap path write access while trying to create the IFL file,
defined in Customize menu > Configure User the process will fail and the IFL file won’t be
Paths. created. Therefore, automatic IFL generation
won’t work when reading bitmaps from a
5. Construct an IFL file as described in the
CD-ROM. You need to copy them to a directory
previous procedure.
on your hard disk first. Likewise, automatic IFL
6. On the Select Background Image dialog, click generation won’t work on network drives to
OK. which you don’t have write access.
Image File List Control Dialog 261
Nth Frame—Skips frames in the image file list. Use

Image File List Control Dialog this to match the length of the sequence to the
length of the animation.
Views menu > Viewport Background > Select Background
Image dialog > Choose a directory with sequentially
numbered files. > Sequence > Setup > Image File List Multiplier—Increases the frames in the image file
Control dialog list. Each frame in the file list can be repeated by
this value to stretch out the length of the sequence.
The Image File List Control dialog provides
Include Image Path—Includes the path in the image
controls for creating an Image File List (IFL file)
(page 3–259), which lists sequential still image files file list.
for rendering into backgrounds or materials. It is
particularly useful if you are choosing a sequence
of files that are on a CD-ROM, because you can IFL Manager Utility
redirect the IFL file to a different directory on your Utilities panel > Utilities rollout > More button > Utilities
hard disk. dialog > IFL Manager
This dialog duplicates the functionality found in The IFL Manager utility generates an image file
the IFL Manager utility (page 3–261). list (IFL) file (page 3–259) from an image file you
choose from a numbered file sequence.
Interface
Note: You can also generate an IFL file in a file
selector dialog by selecting a numbered bitmap,
turning on Sequence, and then clicking Setup to
display an Image File List Control dialog (page
3–261).
See also
Image File List Control Dialog (page 3–261)
Procedure
Target Path—Sets the directory where the IFL file
is saved. To use the IFL Manager utility:
1. Open the IFL Manager.
Browse—Use this to navigate to the correct
directory. 2. Click the Select button to display a file selector.
Options—Sets additional options for creating the 3. Select any of the sequentially numbered image
IFL file. files that you want included in the list, and click
Open.
Start Frame—Determines which file in the
The prefix name of the file appears in the
sequence will be the first frame. Use this when you
Working File Prefix group box, and the spinners
have a sequence but you don’t want to start with
in the IFL Manager panel become enabled.
the first image in the sequence.
4. Set the Start spinner to specify the first
End Frame—Determines which file will be the last
numbered file in the sequence. For example, set
frame listed in the IFL list.
this to 5 to begin with file tree0005.jpg.
5. Set the End spinner to specify the last numbered Spinners group
file in the sequence. The Start and End spinners
Start—Displays the number of the first image file
default to the first and last number in the
in the selected sequence. Increase to specify a
existing numbered files.
different starting image for the IFL file.
Note: You can invert the Start and End values
End—Displays the number of the last image file in
(setting the greater value in Start and the lesser
the selected sequence. Decrease to specify a lower
in End) to create a reversed list in the .ifl file.
ending image for the IFL file.
6. Click Create to display a file dialog where you
can name and then save your IFL file. Every nth—Set to a number greater than 1 to skip a
specified number of images in the list.
7. Click the Edit button to display a file dialog
where you can choose an IFL file, which then Multiplier—Adds a multiplier after each file in the
appears in the Windows Notepad. IFL list. If you set to 3, each image is used three
times before the next image in the list is used.
Interface
Button set
Select—Displays a file dialog that lets you select a
file in a sequential list. The number appended to
the file doesn’t matter, as long as the prefix and file
name extension are the same. After selecting the
file, the spinners in the IFL Manager are enabled.
Create—Displays a file dialog where you can name
and save your IFL file.
Edit—Displays a file dialog where you can select an
IFL file. The selected file is then displayed in the
Windows Notepad editor.
Close—Closes the utility.
IMSQ Files
Working File Prefix group The Autodesk ME Image Sequence (IMSQ) format
is an XML file used by the Autodesk products
After you use the Select button to select a
Cleaner and Toxik. You generate IMSQ files in the
sequentially numbered file, the prefix name of
Render Output group of the Render Scene Dialog’s
the file appears here. For example, if the files are
Common Parameters rollout (page 2–1334) by
tree0000.jpg, tree0001.jpg, tree0002.jpg, and so
turning on Put Image File List(s) In Output Path(s)
on, the title in this group box would be tree.
and then clicking Create Now. The IMSQ file
stores information about the rendering, including:
• The name of the rendering file
• The format of the rendering file
JPEG Files 263
• The range of frames

(Nonsequential frame sequences, such as 1, 7,
12–19, are not supported.)
• The frame rate
• The pixel aspect ratio
• The output type, aperture width, and resolution
(width x height)
• The render element type and name
• The camera name (when rendering a Camera
view)
Autodesk VIZ generates a separate IMSQ file for
each render element.
Quality—Move the slider to the level of quality you

JPEG Files want: the higher the quality, the larger the file size.
In general, files compressed with the slider set to
JPEG (.jpeg or .jpg) files follow the standards set by Best have compression ratios between 5:1 and 15:1.
the Joint Photography Experts Group. These files
use a variable compression method that is called File Size—Move the slider to the size of file you
lossy compression because of the loss of image want: the larger the file, the higher the quality.
quality as you increase the compression. However, Smoothing—Move the slider to the level of
the JPEG compression scheme is extremely good smoothing you want: the higher the level of
and you can sometimes compress the file up to smoothing, the larger the file size.
200:1 without severe loss of image quality. JPEG is
consequently a popular format for posting image
files on the Internet for minimum file size and MOV (QuickTime Movie) Files
minimum download time.
QuickTime® is a standard file format created
Interface by Apple® for storing common digital media
types such as audio and video. When you choose
When JPEG is the chosen output format, clicking QuickTime (*.mov) as the Save as Type, your
Render or Setup in the Render Output File dialog animation is saved as a .mov file.
(page 2–1322) displays the JPEG Image Control
dialog. You can export animations to .mov for both
rendering and previews. You can also export
audio if an audio track is present in Track View.
To preview an existing .mov file, you must have
movieplayer.exe included in your environment
path. You can download the QuickTime movie
player from www.apple.com/quicktime/download.
Note: The plug-in does not allow for the direct first movies to employ OpenEXR were
import of audio from a QuickTime file. Harry Potter and the Sorcerer’s Stone,
Men in Black II, Gangs of New York, and
Interface Signs. Since then, OpenEXR has become
ILM’s main image file format.
When you create a new QuickTime file or choose
Setup for an existing one, you see a dialog that OpenEXR’s features include:
is typically titled Compression Settings. This • Higher dynamic range and color
dialog is provided by the QuickTime codec (page precision than existing 8- and 10-bit
3–664) installed with your system, and can change image file formats.
depending on the version of QuickTime you’ve • Support for 16-bit floating-point,
installed. 32-bit floating-point, and 32-bit
integer pixels. The 16-bit
floating-point format, called "half,"
MPEG Files is compatible with the half data type
The MPEG format is a standard for movie files. in NVIDIA’s Cg graphics language
MPEG stands for Moving Picture Experts Group. and is supported natively on their
new GeForce FX and Quadro FX 3D
MPEG files can have a .mpg or .mpeg file name
graphics solutions.
extension.
• Multiple lossless image compression
MPEG is supported only as an input file format. algorithms. Some of the included
You can use MPEG files as texture maps. codecs can achieve 2:1 lossless
compression ratios on images with
film grain.
• Extensibility. New compression
codecs and image types can easily
OpenEXR Files be added by extending the C++
Autodesk VIZ can both read (page 3–268) and classes included in the OpenEXR
write (page 3–265) image files in the OpenEXR software distribution. New image
format. OpenEXR is both an image file format and attributes (strings, vectors, integers,
a general open-source API for reading and writing etc.) can be added to OpenEXR image
headers without affecting backward
such files.
compatibility with existing OpenEXR
The best place to look for information on applications.
OpenEXR itself is the official Website. The
The OpenEXR Bitmap I/O software goes beyond
following is taken directly from the OpenEXR
the “standard” OpenEXR format, taking advantage
home page:
of the flexibility of the format itself. It can write
OpenEXR is a high dynamic-range channels and attributes as well as general RGBA
(HDR) image file format developed data in formats that many OpenEXR file importers
by Industrial Light & Magic for use in cannot understand, due to implementation limits
computer imaging applications. as well as limits to the current set of standards.
OpenEXR is used by ILM on all motion The full-latitude 32-bit floating point RGBA files
pictures currently in production. The that the output function can write is one example.
Saving OpenEXR Files 265
While the OpenEXR API itself fully supports this

capability, and these files are written using the Saving OpenEXR Files
standard set of OpenEXR libraries, most software
Render Scene dialog > Common panel > Common
only reads the 16-bit “half ” floating point RGBA Parameters rollout > Render Output group > Click Files.
files that are considered standard EXR files. > Enter file name and set type to OpenEXR Image File >
Click Save. > OpenEXR Configuration dialog
Configuration File Usage Rendered Frame Window > Click Save Bitmap. > Enter file
name and set type to OpenEXR Image File > Click Save. >
Most bitmap I/O plug-ins, including those OpenEXR Configuration dialog
integrated into Autodesk VIZ, store their

configuration information in a binary CFG file Use the OpenEXR Configuration dialog dialog to
that cannot be edited. To allow external scripting set output parameters for OpenEXR files. You can
support as well as ordinary preferences, the specify the format for saving the RGBA data as
OpenEXR software uses a standard INI file format well as which of the four standard channels should
to store its configuration data. The file is named be saved. An option is available to use RealPixel
openexr.ini and is found in the plugcfg folder unclamped color information for Render Output
in the program directory. The file is generated saving. Also available are color transforms to be
automatically the first time you edit the OpenEXR applied, file compression type, and additional
configuration settings, and is updated each time attributes.
you modify an EXR loader. It is a standard text file
and can be modified with any text editor. Interface
When the INI file is written, it automatically

generates a companion “help” text file named
openexr_ini_help.txt. This file contains the valid
ranges for various INI settings, as well as the
various text strings used to specify compression
type and bit depth. This file is just a guide; editing
it has no effect, and it is overwritten whenever the
INI file is updated. Compression Type—Lets you choose the method
of file compression. The OpenEXR API
To restore the default settings after editing the INI provides for three general types of lossless
file, simply delete the openexr.ini file and a new compression, including two different methods of
one with the original defaults will be generated the Zip compression. For most images without a lot of
next time you edit the configuration settings. grain, the two Zip compression methods seem to
work best, while the PIZ compression algorithm
See also is better suited to grainy images. The following
Saving OpenEXR Files (page 3–265) options are available:
Opening OpenEXR Files (page 3–268) • None—Disables all compression.

• Run Length Encoding (RLE)—A basic form
of compression comparable to that used by
standard Targa files.
• Zip (per scanline)—Zip-style compression R/G/B/Alpha—Let you specify the channels to save:
applied to individual scanlines. red, green, blue, and alpha.
• Zip (16 scanline blocks)—Zip-style compression Use RealPixel RGB Data—When on, compresses the
applied to blocks of 16 scanlines at time. essential data of floating-point color into 32 bits.
This tends to be the most effective style of For technical information, see Structure RealPixel.
compression to use with rendered images that
Note: Image motion blur is not applied to the
do not have film grain applied.
RealPixel RGBA data by the renderer. If you are
• PIZ ( wavelet compression )—Uses a combined using Image motion blur, you will not be able to
wavelet/Huffman compression. This form of save RealPixel unclamped color data.
compression is best for grainy images.
Exponent—Enables and sets the power function
Standard Channels group exponent to use. This is effectively a gamma curve,
but the exponent is presented in an inverse manner
The standard channels in an image are: red, green, from typical gamma. The default value is what
blue, and alpha (transparency). This group lets exrdisplay expects for input.
you choose the general type of OpenEXR file to
save, as well as which of the four channels to save Pre-Multiply Alpha—When on, the software uses
with the file. The most widely supported format premultiplied alpha (page 3–717) when saving the
is Half Float - 64 bpp format. This stores each file. Pre-multiplying saves computation time if you
channel of the image in a separate slice in the file later use this image in compositing.
using half-type 16-bit floating-point data. The Plugin About—Opens a dialog that shows
OpenEXR distribution has features that allow easy information about the OpenEXR plug-in.
implementation of reading and writing this type of
file, and it is considered a standard OpenEXR file. Extra Channels and Attributes—Opens a sub-dialog
(page 3–266) that lets you specify additional
Format—Choose one of the following from the information to save with the OpenEXR image file.
drop-down list:
OK—Accepts any changes and closes the dialog.
• Integer - 32 bpp—This non-standard OpenEXR
format contains only a single 32–bit integer Cancel—Discards any changes and closes the
channel. It uses a packedIntRGBA image type dialog.
in order to support old-style bit depths, such as
32–bit Targa files. Only this plug-in can read Extra Channels and Attributes
this format. To specify an extra attribute or channel to be
• Half Float - 64 bpp—This 16-bit-per-channel included in the saved OpenEXR file, click the
“half-float” format is standard OpenEXR. Any corresponding + button and then choose the
software that supports OpenEXR can use this attribute or channel from the list. To delete an
format. attribute or channel, highlight it in the list and
then click the corresponding X button.
• Float - 128 bpp—The 32-bit-per-channel
“full-float” format is encoded using standard
OpenEXR channel tags. Most OpenEXR
implementations will have no problems reading
this format.
Saving OpenEXR Files 267
Attributes are data that is stored per frame,

not per pixel, and they are embedded in the
file’s header. Channels are data that is stored
per pixel. In order to maximize flexibility with
other software, this plug-in lets you edit the file
tags. You should only do this if you know the
tag required by some other software; otherwise
it is best to leave the file tags at their default
values.
• Channels that create multiple “slices” in the
General Notes on Extended Attributes and EXR file require multiple file tags. In this case,
Channels the file tag in the user interface comprises
Please note the following: several sub-tags denoted by square brackets.
For example, the Normal channel generates
• You can view the extended information via the three slices in the EXR file: one for the Normal
File Info button on the input dialog. vector x data, 1 for y, and 1 for z. In this
• A default File Tag string is provided when you instance, the tag string in the user interface
add an attribute/channel. You can change the would read [NX][NY][NZ], and generate slices
file tag by highlighting the entry in the list and with the file tags "NX", "NY", and "NZ". The
then editing the File Tag field immediately file tag is used by software that is reading the
below the list. You can also enable and disable EXR file to identify the intended use of the
the attribute/channel with the check box to the channel data. Even standard image channels
left of the File Tag field. are encoded this way, with the tags "R", "G",
Note: Each saved attribute or channel must "B", and "A" used to denote red, green, blue,
have a unique file tag. If you specify multiple and alpha channels respectively.
instances of a file tag, only the first attribute or
Extended Attributes
channel with that file tag is used.
• All the current attributes are String type Comment—A general-purpose comment string
attributes that are stored in the header for defined by the user. To define the comment,
the file, and can be read in plain text via the highlight the Comment entry in the list and then
exrheader.exe utility (available from the official edit the Comments field immediately below the
Website > Downloads page). list.
• Attributes and channels are stored in the file Computer Name—The name of the computer the
in alphabetical order according to the ASCII image was saved from. In the case of standard
file tag. render output during a net render, this is the
machine that rendered the frame.
• While this plug-in can write most of the
Autodesk VIZ G-Buffer (page 3–681) channels, System Time—The UTC (GMT) system time and
there is no software that can utilize them yet. date when the file was written.
• Attributes and channels are identified by Local Time—The local time and date (corrected for
plain-text (ASCII) strings. There can be the time zone) when the file was written.
only one instance of a string tag in any file.
Version OpenExr —The plug-in version, OpenEXR

API version, and ZLib version in plain text form. Opening OpenEXR Files
Version 3dsMax—The release version of Any command that opens an image file, such as View
Image File > Specify an EXR file. > Click Open. > OpenEXR
Autodesk VIZ itself, the API number, and the SDK Configuration dialog
revision used when the build of Autodesk VIZ was
compiled. This also reports whether the file was This version of the OpenEXR Configuration dialog
generated using Autodesk VIZ or Autodesk VIZ. appears whenever you open an EXR file. It lets
you specify various color transformations to be
Extended Channels applied to the loaded image, designate the internal
Z-Buffer—The standard buffer depth channel. storage format to use, and preview the loaded
(16-bit or 32-bit floating point) image with the color transforms applied. There
is also a histogram for viewing the brightness
Object ID—The object ID from the Object
distribution in the image and adjusting the white
Properties dialog (page 1–108). (32-bit unsigned
and black points interactively.
integer)
Material ID—The material effects channel number Interface
(page 2–1073). (32-bit unsigned integer)
Node Render ID—A unique object ID set by the
renderer. All objects in the scene have a unique
Render ID, though the value stored varies from
renderer to renderer. (32-bit unsigned integer)
UV Coords—The UV coordinates for the object.
Only one UV channel is stored. (two slices, 16-bit
or 32-bit floating point)
Velocity—The 2D velocity vector for the pixel in
screen space. (two slices, 16-bit or 32-bit floating
point)
Normal—The surface normal. (three slices, 16-bit
or 32-bit floating point)
Coverage—The pixel coverage of the foremost
object in the pixel. (32-bit unsigned integer, 16-bit
floating point, or 32-bit floating point)
Histogram
To view the histogram, click the Preview button.
The histogram displays a detailed bar graph of the
distribution of brightness throughout the image.
The horizontal axis of the histogram defines the
luminance value, and the vertical axis indicates the
Opening OpenEXR Files 269
percentage of the image covered by pixels of that • You can set the display itself to linear or
brightness. Histogram features are: logarithmic mode. Logarithmic display remaps
• The histogram supports several display modes, all values greater than 1.0 to a logarithmic
which you can choose by right-clicking the curve. The dotted spacing indicators are
histogram display window. The menu lets supplemented by heavier dotted lines that
you choose between linear and logarithmic indicate when the scale has changed by a factor
display, automatic or manual x-axis scaling, of 10. This is useful for most HDR images, as
y-axis scale options, and which channel is the HDR data is usually spread out over a wide
graphed: luminance, red, green, or blue. The range.
menu entries X-Axis Scale and Y-Axis Scale • Setting X-Axis Scale to Auto mode causes the
are simply labels, and are thus unavailable for histogram to encompass the entire spectrum
choosing. of the image. If you switch back and forth,
• The vertical scale slider on the left side of the previous manually set values are preserved and
histogram lets you adjust the automatically restored.
computed vertical scale.
File Loading Parameters group
• To modify the luminance “window,” set X-Axis
Scale to Manual and adjust the minimum and Storage Buffer Format—Specifies the format
maximum values in the numeric fields below in which the image data is stored within
either end of the graph. Autodesk VIZ. The base types are variations
on 8-bits-per-channel and 16-bits-per-channel
• The background coloration indicates several integer formats. There are two forms of each: one
pieces of information: with alpha (RGBA) and one without alpha (RGB).
• The area between the black and white points If you are loading an image with an alpha channel
is shaded gray. but don’t require the alpha data, choose the RGB
• The area below 1.0 (low dynamic range) version to save some memory. If you choose a
is a lighter shade of gray than the area storage type that supports alpha, but load an image
with luminance greater than 1.0, the high without alpha, no memory is allocated for the
dynamic range region. alpha channel; the loader detects the situation and
reverts to the alpha channel-free storage option
• The background of the region outside the
with equivalent RGB bit depth.
currently selected blackpoint/whitepoint
region is tinted pink. The options supports the HDR bitmap
storage options. This allows storage of the
• The vertical dotted lines indicate integer
high-dynamic-range data within Autodesk VIZ
spacing (for example, 1...2...3...4). To see
in three different HDR formats: 24- and 32-bit
these, the maximum luminance value must
LogLUV formats and 32-bit RealPixel format.
be greater than 1.0.
• You can drag whitepoint/blackpoint markers EXR files loaded using these storage modes
in the histogram to place them visually. The are suitable for use as environment maps for
hot-spot is two pixels to either side of the reflections and skylight.
marker line. White point selection is tested Color Transform—Because EXR images often
first, so if the two lines are right next to each contain values brighter than “white,” it is often
other, the white point will be selected. desirable to change the luminance range in the
source image over which black to white occurs; the file. See Extra Channels and Attributes (page
that is, to remap the color data. When Color 3–266).
Transform is on, you can adjust these luminance
and general brightness controls:
Exponent—The exponent to apply when loading
the file
Black Point—Where black should be in the
luminance range of the image
White Point—The white point
RGB Level—A standard multiplier for the RGB data
RGB Offset—An additive offset for the RGB data
Preview—The Preview window provides for

interactive previewing of color-transform options
for loading EXR files. After choosing an EXR
file to open, click Preview to enable the preview
window. The image file is loaded into the preview
window, and from then on any changes to the
Color Transform options update the thumbnail
in real time. PIC Files
The preview window ignores the aspect ratio of Autodesk VIZ can import and export
the image to make the most of the small screen Radiance Picture (PIC) files. The PIC file is a
space available. lighting-analysis format used for the same purpose
Plugin About—Opens a dialog that shows as LogLUV TIFF files (page 3–277). The PIC
information about the OpenEXR plug-in. format differs from the LogLUV TIFF format by
creating separate files for luminance (page 3–694)
File Info—Opens the File Information dialog (page and illuminance (page 3–687) channel data (the
3–270), which lets you view file statistics plus any LogLUV TIFF format creates one file containing
attributes and channels stored in the file. both channels).
OK—Accepts any changes, closes the dialog, and One way to create PIC files is with the Lighting
opens the image file. Data Exporter utility (page 3–82). You specify a file
Cancel—Discards any changes and closes the name by clicking the File Name button. When you
dialog without loading the image file. click Export, the Lighting Data Exporter renders
two files. The string “_Illuminance” is appended
File Information dialog to the name of one file, and “_luminance” is
appended to the other. For example, if you type
This read-only dialog displays basic file statistics
house as the file name, the exporter renders to
including date, time, size, and resolution, plus any
house_illuminance.pic and house_luminance.pic.
attributes and channel information stored with
PNG Files 271
You can also open and save high-dynamic-range Grayscale 16 bit (65,536)—Choose to render a
images in the PIC format using the Radiance grayscale image with 65,536 shades.
Image File format in input and output file browsers
Alpha Channel—Turn on to save the alpha channel
in Autodesk VIZ. For further information, see
with the file.
HDRI Files (page 3–256).
Interlaced—Turn on to make the file interlaced for
See also faster display in Web browsers.
Radiosity Workflows (page 2–1357)
PSD Files
PNG Files PSD is the file-name extension for graphics files
native to Adobe Photoshop. This image format
PNG (Portable Network Graphics) is a still-image
supports multiple layers of images superimposed
file format developed for use with the Internet and
to get the final image. Each layer can have any
World Wide Web.
number of channels (R, G, B, Mask, and so on). It
is a powerful file format because multiple layers
Interface
can contribute to a variety of special effects.
Clicking Render or Setup in the Render Output
File dialog (page 2–1322) displays the PNG Adobe provides many different modes of
Configuration dialog. superimposing layers, including normal, darken,
lighten, difference, multiply, screen, dissolve, hard
light, hue, saturation, color, luminosity, overlay,
and soft light.
You can use PSD files as bitmaps, viewport
backgrounds, and so on. You can’t render to a PSD
file.
Autodesk VIZ supports Photoshop 6.0 format,
and allows you to use image layers as bitmaps, as
well as the entire composited graphic.
Interface
When you open a PSD file as a bitmap, a dialog
appears that lets you choose how to use the image.
Optimized palette (256)—Choose to render a
smaller, 8-bit color file.
RGB 24 bit (16.7 Million)—Choose to render a true
color (24-bit) file.
RGB 48 bit (281 Trillion)—Choose to render a 48-bit
color file.
Grayscale 8 bit (256)—Choose to render a grayscale
image with 256 shades.
Collapsed Layers displays the entire image. Individual Layer displays list of layers to choose from.
Collapsed Layers—(The default.) Uses the entire Full Frame—When on, uses the entire layer as the
composited image. bitmap. When off, uses only that portion of the
layer occupied by image data. Default=on.
Individual Layer—Uses a single layer of the image.
When you choose this, the dialog shows a list of
Limitations
the layers, with a thumbnail of each, and the layer
names. Click a layer to choose it, then click OK. Bits Per Channel—Photoshop supports images
with 1, 8, and 16 bits per channel (1-, 24-, and
48-bit RGB images, respectively). Autodesk VIZ
supports PSD images with 8 or 16 bits per channel.
(In practice, there are very few images with 1 bit
per channel.) While Photoshop can load images
with 16 bits per channel, layers are always 8 bits
per channel.
Modes—Autodesk VIZ supports .psd files saved
in the following modes:
• RGB
• Grayscale
Autodesk VIZ doesn’t support the following
Photoshop modes:
• Indexed Color
• Bitmap
RLA Files 273
• Duotone Standard Channels group

• CMYK Color The standard channels are RGB color and the
• Lab Color alpha (transparency) channel.
• Multichannel Bits per Channel—Choose 8, 16, or 32 Floating
Point as the number of bits per channel. Default=8.
Non-Image Layers—Layers other than image layers
(for example, text layers) are not supported. In Store Alpha Channel—Choose whether to save the
Photoshop, you can “rasterize” a non-image layer alpha channel. Default=on.
to make it an image.
Premultiply Alpha—When on, premultiplies the
Compositing Options—Compositing options alpha channel. Default=on.
between image layers, which require processing by
Premultiplying saves computation time if you
Photoshop, are not supported.
later use this image in compositing. For more
information, see Premultiplied Alpha (page
3–717).
RLA Files
The RLA format is a popular SGI format that Optional Channels group
supports the ability to include arbitrary image For output RLA files, there are eight additional
channels. While setting up a file for output, if you channels that you can generate (and view in the
select RLA Image File from the list and click the rendered frame window):
Setup button, you’ll go to the RLA setup dialog.
Once there, you can specify what channels (and Z Depth—Displays Z-Buffer information in
what format) you want to write out to the file. repeating gradients from white to black. The
gradients indicate relative depth of the object in
See also the scene.
RPF Files (page 3–274) Material ID—Displays the Effects channel used
by materials assigned to objects in the scene.
Interface The Effects channel is a material property set in
the Material Editor. Each Effects Channel ID is
When RLA is the chosen output format, clicking
displayed using a different random color.
(page 2–1322) displays the RLA Image File Format Object ID—Displays the G-Buffer (page 3–681)
dialog. Object Channel ID assigned to objects using the
Object Properties dialog. Each G-Buffer ID is
UV Coordinates—Displays the range of UV
mapping coordinates as a color gradient. This
channel shows where mapping seams might occur.
Note: UV Coordinates will not be displayed on
objects that have the UVW Map Modifier applied
unless a map has been applied that uses the
coordinates.
Normal—Displays the orientation of normal Tip: When you create a scene you plan to
vectors as a grayscale gradient. Light gray surfaces render as an RPF file for use with the Autodesk
have normals pointing toward the view. Dark gray Combustion™ product, turn on Render Occlude
surfaces have normals pointing away from the Objects (on the Object Properties dialog (page
view. 1–107) ) for objects in the scene. This is important
if you want to use the Combustion G-Buffer
Non-Clamped Color—Displays areas in the
Extract feature. When Render Occluded Objects is
image where colors exceeded the valid color
enabled and you extract an object in Combustion,
range and were corrected. The areas appear as
the objects behind it are drawn correctly. If Render
bright saturated colors usually around specular
Occluded Objects is disabled (the default), objects
highlights.
behind the extracted object appear with black
Coverage—This saves the coverage of the surface holes where they were occluded.
fragment from which other G-buffer values
(Z Depth, Normal, and so on) are obtained. Interface
Z-Coverage values range from 0 to 255. To see Z
When RPF is the chosen output format, clicking
Coverage, render to an RLA file after first checking
Z Coverage in the Setup subdialog, then choose
(page 2–1322) displays the RPF Image File Format
Z-Coverage in the rendered frame window’s
dialog.
Viewing Channel drop-down list.
The Z-Coverage feature is provided primarily for
developers, and should aid in the antialiasing of
Z-buffers.
Descriptive Information group

This information is saved with the file.
Description—You can enter descriptive text here.
Author—You can enter your name here.

Standard Channels group
The standard channels are RGB color and the
RPF Files alpha (transparency) channel.
RPF (Rich Pixel Format) is the format that Bits per Channel—Choose 8, 16, or 32 Floating
supports the ability to include arbitrary image Point as the number of bits per channel. Default=8.
channels. While setting up a file for output, if you Store Alpha Channel—Choose whether to save the
select RPF Image File from the list, you’ll go to alpha channel. Default=on.
the RPF setup dialog. Once there, you can specify
what channels you want to write out to the file. Premultiply Alpha—When on, premultiplies the
alpha channel. Default=on.
RPF files replace RLA files as the format of
choice for rendering animations requiring further Premultiplying saves computation time if you later
post-production or effects work. Many channels use this image in compositing. See Premultiplied
available in RPF files are exclusive to this format. Alpha (page 3–717) for more information.
RPF Files 275
Optional Channels group Z-Coverage in the rendered frame window’s

Viewing Channel drop-down list.
For output RPF files, there are additional channels
that you can generate (and view in the rendered The Z-Coverage feature is provided primarily for
frame window): developers, and should aid in the antialiasing of
Z-buffers.
Z Depth—Saves Z-Buffer information in repeating
gradients from white to black. The gradients Node Render ID—Saves each object as a solid color
indicate relative depth of the object in the scene. according to its G-Buffer Object channel (found
under Object Properties).
Material ID—Displays the Effects channel used
by materials assigned to objects in the scene. Color—Saves the color returned by the material
The Effects channel is a material property set in shader for the fragment. This channel displays any
the Material Editor. Each Effects Channel ID is transparent fragment as a solid color.
Transparency—Saves transparency returned by the
Object ID—Displays the G-Buffer (page 3–681) material shader for the fragment. Any fragment
Object Channel ID assigned to objects using the with any degree of transparency will be rendered
Object Properties dialog. Each G-Buffer ID is as a solid gray object.
Velocity—Saves the velocity vector of the fragment
UV Coordinates—Saves the range of UV mapping relative to the screen in screen coordinates.
coordinates as a color gradient. This channel
Sub-Pixel weight—Saves the sub-pixel weight of a
shows where mapping seams might occur.
fragment. The channel contains the fractions of
Note: UV Coordinates will not be displayed on the total pixel color contributed by the fragment.
objects that have the UVW Map Modifier applied The sum of all the fragments gives the final pixel
unless a map has been applied that uses the color. The weight for a given fragment takes into
coordinates. account the coverage of the fragment and the
Normal—Saves the orientation of normal vectors transparency of any fragments that are in front of
as a grayscale gradient. Light gray surfaces have a given fragment.
normals pointing toward the view. Dark gray Sub-Pixel Mask—Saves the sub-pixel alpha mask.
surfaces have normals pointing away from the This channel provides a mask of 16 bits (4x4) per
view. pixel, used in antialiased alpha compositing. This
Non-Clamped Color—Saves areas in the image mask is especially useful with the Combustion
where colors exceeded the valid color range compositing product.
and were corrected. The areas appear as
bright saturated colors usually around specular Descriptive Information group
highlights. This information is saved with the file.
Coverage—Saves the coverage of the surface Description—You can enter descriptive text here.
fragment from which other G-buffer values
Author—You can enter your name here.
(Z Depth, Normal, and so on) are obtained.
Z-Coverage values range from 0 to 255. To see Z
Coverage, render to an RLA file after first checking
Z Coverage in the Setup subdialog, then choose
Some Targa files created by other applications have

RGB (SGI Image) Files different file-name extensions. Autodesk VIZ can
The SGI™ Image File format is a bitmap file type render the .vda, .icb, and .vst variants as well as
created by Silicon Graphics®. SGI Image File .tga.
support in Autodesk VIZ lets you load and save
files in both 8- and 16-bit color depth, with alpha Interface
channels, and RLE Compression. Clicking Render or Setup in the Render Output
File dialog (page 2–1322) displays the Targa Image
Interface Control dialog.
Clicking Render or Setup in the Render Output
File dialog (page 2–1322) displays the RGB Image
File Format dialog.
Channel Bit Depth group When you render to a Targa file, you have the
8 Bit—Saves the RGB file as 8-bit color. following options:
16 Bit—Saves the RGB file as 16-bit color. Image Attributes group

Bits-Per-Pixel—Choose the color depth: 16-bit,
Use Alpha toggle
24-bit, or 32-bit.
Use Alpha—Saves Alpha channels with the RGB
file. Compress—Applies lossless compression to the file.
Alpha Split—Creates a separate file for the

alpha channel. The file name created for the
TGA ( Targa) Files alpha-channel file starts with a_ and then
The Targa (TGA) format was developed by appends the full file name. For example, if you
Truevision for their video boards. The format check this box and render the file greek004.tga,
supports 32-bit true color; that is, 24-bit color plus Autodesk VIZ creates the file a_greek004.tga for
an alpha channel, and is typically used as a true the alpha channel. (Sometimes the name will be
color format. longer than 8 characters.)
Targa files are widely used to render still images Pre-Multiplied Alpha—When on, pre-multiplies the
and to render sequences of still images to video alpha channel. Pre-multiplying saves computation
tape. time if you later use this image in compositing. See
Premultiplied Alpha (page 3–717).
TIFF Files 277
Additional Information group compressed image. Luminance and illuminance

data are rendered by the Lighting Data Exporter
Author Name, Job Name/ID, Comments—These
fields are available for you to add information
utility (page 3–82).
about the file.
Interface
To open the TIF Image Control dialog, click Save
Note: To control whether or not the renderer or Setup on the Render Output File dialog (page
uses the environment map’s alpha channel in 2–1322).
creating the alpha for the rendered image, choose
Customize > Preferences > Rendering, and
then turn on Use Environment Alpha in the
Background Antialiasing group.
If Use Environment Alpha is turned off (the
default) the background receives an alpha of 0
(completely transparent). If Use Environment
Alpha is turned on, the alpha of the resulting image
is a combination of the scene and background
image’s alpha. Also, when writing TGA files with
Pre-Multiplied Alpha set to off, turning on Use When you render to a TIFF file, you have the
Environment Alpha prevents incorrect results. following options:
Monochrome—Creates an 8-bit grayscale image.
channels or black backgrounds are supported
when compositing in other programs such as Color—Creates a 24-bit color image (no alpha
Photoshop. channel).
Image Type group

TIFF Files Lets you choose the method for saving image
TIFF (Tagged Image File Format) is a information:
multiplatform bitmap (page 3–660) format • 8-bit Greyscale—Creates an 8-bit grayscale
originating on the Macintosh® and in image.
desktop-publishing applications. TIFF is a
• 8-bit Color—Creates an 8-bit color image.
common choice if you plan to send your output
to a print service bureau or import the image into • 16-bit Color—Creates a 16-bit color image.
a page-layout program. • 16-bit SGI LogL—Creates a color image that
There are several classes of TIFF files, each varying includes a logarithmic encoding of the
in the color depth and color palette that they luminance channel.
support. • 32-bit SGI LogLUV—Creates a color image
that includes a logarithmic encoding of the
You can render TIFF files with alpha, luminance
luminance channel and UV color coordinate
(page 3–694), and UV color coordinate
information.
information, which describes illuminance (page
3–687). You also have the option to render a
Store Alpha Channel—When on, stores the alpha the animation through all of its frames. Hold the
channel along with other image data. Alpha data right mouse button and move the mouse left to
adds 8 bits per pixel to the image type you selected. move the animation back to the first frame. Move
the mouse right to advance the animation to its
Compression Type group end.
Lets you render a compressed TIFF file. For best RAM Player performance, Gamma
Default=No Compression. should not be enabled in Customize > Preferences
• No Compression—Does not compress the > Gamma.
rendered image.
Interface
• Packbits—Uses the TIFF Packbits algorithm to
compress the file.
Dots Per Inch—Sets the dots per inch (dpi) for
the saved image. This setting does not change the
resolution of the final image, but can affect the way
it prints in documents.
YUV Files
YUV files are still-image graphics files in the Channel A/B
Abekas Digital Disk format. Open Channel—Displays an Open File dialog
YUV is supported only as an input file format. You that lets you select a file to load into the channel.
can use YUV files as general-purpose bitmaps, but After you have selected a file, the RAM Player
you can’t render to a YUV file. Configuration dialog (page 3–280) appears that
allows you to set height, width, and memory usage
for that channel.
Open Last Rendered Image—Loads the last
rendered image into the channel. Nothing is
RAM Player displayed if there is no last rendered image
available.
Rendering menu > RAM Player
Close Channel—Unloads the image in the channel
The RAM Player loads a frame sequence into and frees up your memory.
RAM and plays it back at selected frame rates.
Save Channel—Displays a Save File dialog that
The RAM Player has a channel A and a channel
lets you save the animation or image from the
B. Two different sequences can be loaded into the
respective channel. You can save the animation as
channels to play back together, giving you the
a .avi file or a numbered sequence of images.
ability to compare them.
Note: The RAM Players converts everything it
Clicking and dragging in the channel display loads into 24-bit RGB which means that some
window allows you to set the A/B divider between information may be lost when it is loaded. This
the two channels. The right mouse button “scrubs” may affect a file saved in the RAM Player.
RAM Player 279
Channel A—When selected, this button will show Frame Rate Control—Sets the desired frame rate in
the file loaded into channel A. Split screen markers frames per second. When playing back a movie,
are displayed if both channels are enabled. The you see the frame rate displayed in the title bar of
split screen markers are represented by two the RAM Player. You can select a predefined frame
triangles. These markers indicate where channel rate or type in your own frame rate value.
A ends and channel B begins. You can move the
Color Selector—CTRL+right-clicking the mouse in
divider using the left mouse button.
the display window displays the color of the pixel
Channel B—When selected, this button will show in the color selector swatch. Stop the animation to
the file loaded into channel B. Split screen markers get a correct pixel reading. The RGB of the pixel is
are displayed if both channels are enabled. The also displayed in the title bar of the RAM player.
split screen markers are represented by two
Double Buffer—Selecting Double Buffer ensures
triangles. These markers indicate where channel
that the two frames in channels A and B are
A ends and channel B begins. You can move the
synchronized. Enabling this function has a
divider using the left mouse button.
substantial impact on the maximum frame rate.
Horizontal/Vertical Split Screen—Toggles between
the view of the two channels side-by-side or one RAM Player Keyboard Shortcuts
on top of the other. The following keyboard shortcuts are available for
the RAM Player.
Frame Controls
RAM Player Function Keyboard Shortcut
First Frame—Automatically returns the RAM
Player to the first frame of the animation. If the Go To Start Frame HOME
RAM Player is at the first frame, First Frame Go To End Frame END
returns the animation to the last frame. Go To Previous Frame LEFT ARROW
Previous Frame—Backs up the RAM Player to the Go To Next Frame RIGHT ARROW
previous frame in the animation. If the RAM Playback Reverse UP ARROW
Player is at the last frame, Previous Frame returns
Playback Forward DOWN ARROW
the animation to the first frame.
Stop Playback ESC or CTRL+C
Playback Reverse—Plays the frames in the
Toggle Playback or Stop SPACEBAR
animation in reverse order. The flyout contains an
option to play the animation once and then stop. Toggle Channel A On/Off A
Toggle Channel B On/Off B

Playback Forward—Plays the frames in the
animation in rendered order. The flyout contains Open File in Channel A CTRL+A
an option to play the animation once and then Open File in Channel B CTRL+B
stop. Open Last Rendered Image ALT+A
in Channel A
Next Frame—Advances the RAM Player to the next
frame in the animation. Open Last Rendered Image ALT+B
in Channel B
Last Frame—Automatically places the RAM Player
Scrub Animation CTRL+left mouse button or
at the last frame of the animation. right mouse button
Frames group
RAM Player Configuration Dialog
Start Frame—Specifies a certain frame in an
Rendering menu > RAM Player > Load a file into either animation where you want the RAM Player
channel. > RAM Player Configuration dialog to begin loading. A value of 1 would start the
animation at its rendered beginning. A value of 5
The RAM Player Configuration dialog contains would start the animation on frame five and any
controls for resolution, frames, memory usage, frame before that would not be loaded.
and alpha channel for playing back animations.
Num Frames—Specifies the total number of frames
Interface to be loaded into the RAM Player.
Memory Usage group

Maximum—Lets you configure the maximum
amount of memory to use for the RAM player.
This value includes both channels.
Alpha group
Load Into Other Channels—When turned on, this
option loads a grayscale alpha channel into the
other channel. This allows you to wipe between
an RGB channel of the animation and the alpha
channel of the animation.
Resolution group
Width—Defines the width at which the file is
loaded.
Height—Defines the height at which the file is
loaded.
External References (XRefs)
to Objects and Scenes
Lock Aspect Ratio—When turned on, Lock Aspect
Ratio forces the file to load at the same aspect
ratio, regardless of the Width and Height values Referencing Objects, Materials,
you enter. and Scenes
If you change the Width of the file, the Height You can use two kinds of externally referenced
adjusts according to the file’s original aspect ratio. files (XRefs): XRef Objects (page 3–281) and
Adjusting the Height does the same to the Width XRef Scenes (page 3–292). Using these external
value. references allows for a team approach to animation,
Filter Input—When turned on, Filter Input filters where the modeling, materials, and animation can
the image or animation so that it best maintains be handled in separate files by different artists. It
the quality of the original file. When turned can also make large files much easier to deal with
off, filtering does not occur, and the image or through the use of proxy objects.
animation could be distorted.
XRef Objects 281
You access XRef Objects and XRef Scenes from the

File menu.
The two types of references have distinct purposes:
• Referenced scenes bring in a file that cannot be
selected or inadvertently changed. An artist can
bring in the environment or set as a referenced
scene and won’t have to worry about mistakenly
selecting walls and floors while trying to move
cameras and lighting.
The file renders as part of the animation, but
will not hinder the workflow. Referenced scenes
can be bound to an object in the scene so you
can scale, rotate, or reposition the scene if
necessary.
• Referenced objects appear in the scene and
can be animated. Depending on the object’s Objects in a scene can be XRefs, created and maintained
XRef settings, you might or might not be able by other users.
to edit the object’s modifier stack, as well as
any manipulators applied to the object. You
can add modifiers or transform animation XRef Objects
to the referenced objects, but you cannot
inadvertently change the model’s structure. File menu > XRef Objects
Referenced objects allow for the substitution
of a proxy object, so you can animate a Externally referenced objects, XRef objects, appear
low-polygon version of a complex model and in your current scene, but are actually referenced
then render the polygon-intensive version. from external Autodesk VIZ files.
Note: Any atmospherics applied in an XRef As a result, the source objects are protected from
object’s source file will be carried into the scene. modifications you make to the XRef objects.
Updates or changes made to the source objects
The use of referenced objects and scenes allows
are also updated in the target file where the XRef
you to continue to work on models and materials
appears.
while the animation process is under way. You can
choose to have the models and materials update An XRef object appears like any other object in
automatically, as soon as changes are saved to the your scene. However, depending on your XRef
original file, or to update manually, on demand. settings, modifiers and manipulators applied to
your source object might or might not be available
There are also tools for easy conversion of scene
to change. If you selected XRef or Ignore in the
objects into referenced objects, and a button to
Modifiers group of the XRef Objects dialog (page
merge referenced objects back into the scene as
3–284), the only entry in the modifier stack will be
normal objects.
“XRef Object.” You can add additional modifiers to
the object, but you cannot access the original ones
unless you merge the XRef object into the scene.
However, if you merge the objects into the target the source file can cause XRefs in the target file to
scene, you can edit them in the stack. However, become unresolved.
changes that you make to the modifier stack in the
XRef objects can be modified or transformed in
target file have no effect in the source file.
your current scene just like any other object. XRef
Note: The XRef behavior of world-space modifiers objects also allow the use of proxy objects to stand
is different than the object-space modifiers. If you in or substitute for geometry. Use XRef objects
add a world-space modifier and use the XRef or to manage the complexity of your scene during
Ignore options, the world-space modifiers will be animation by substituting “lightweight” proxy
separated from the XRef object and appear on the objects for more complex geometry.
top of the modifier list.
You can create a proxy by simplifying a clone
Similarly, manipulators in your source file will be of your existing model or you can build simple
treated depending on the Merge Manipulators substitute objects like boxes or cylinders, or you
setting in the XRef Objects dialog. can save a copy of the model in the early stages of
modeling before you add the detail. You can even
use an object from another scene.
A proxy object is substituted in the scene, but the reference

to the real object is always available.
Objects in a scene can be XRefs from other scenes. They can
be transformed and positioned in the scene as desired. Choosing XRef Objects displays the XRef Objects
dialog (page 3–284), where you add XRef objects
When an XRef object is loaded into the target and materials to your target scene, and control
file from the source file, it can have an XRef their visibility, merge states, and other options.
material (page 2–1192) assigned to it. When the
object is loaded into the target scene, you can If your XRef object relies on another object in the
either merge the material information or you can source scene, the relationship will be preserved
maintain it as a live connection with the source file. in the destination file. Examples of this include
objects with path constraints, atmospherics,
Note: Both objects and materials are XRefed
particle arrays with object emitters, or space warps
based on their names. Names are case-sensitive. bound to an object.
Changing the name of an object or material in
XRef Objects 283
Note: Render effects such as glow or flare are not Record From File. This includes all objects and
carried in XRefs. To use render effects from the materials, and bypasses the XRef Merge dialog.
source file, merge them in using the Merge buttons 4. The XRef record appears in the upper list of the
found in the Environment And Effects dialog. XRef Objects dialog and has the same name as
its source file. The entities appear in the lower
Procedures list, where an entity can be either an object or a
To add an XRef object: material. Make additional choices at this time if
1. Choose File > XRef Objects. you like. You can control how the objects will
update (either automatically or on demand).
2. Click the Create XRef Record From File Updating is done at the file level: all objects and
button in the XRef Objects dialog. The Open materials from a single source file are updated
File dialog appears. Highlight the file you want at the same time.
by highlighting it in the list, then click Open.
To substitute a proxy object for an XRef object:
The XRef Merge Dialog (page 3–292) appears.
With proxy objects, you can avoid loading your
If the Merge Manipulators toggle is off before
detailed model in memory, and speed up the time
you click Create XRef Record From File,
of test renderings.
manipulators applied to XRef objects remain
linked (XRefed) to the source file. In a similar 1. Select an XRef object.
way, the Modifiers drop-down list gives you
three alternatives for how to handle object 2. On the Modify panel > Proxy rollout, click
modifiers. the Browse button, and use the File Open dialog
to choose the file that contains the proxy.
Note: If the Merge Materials toggle is off
before you click Create XRef Record From File, A Merge dialog appears.
materials applied to XRef objects remain linked 3. Pick the object to use as a proxy.
(XRefed) to the source file. If Merge Materials When you have picked the proxy object, the
is on, the materials are merged with the target Enable toggle should turn on.
scene (as they always were in previous versions
4. Turn on Use In Rendering to use the proxy
of Autodesk VIZ).
object in renderings.
3. Select the objects that you’d like to appear in
your current scene as XRef objects. To add further objects to an XRef Record:
You can choose as many as you want by holding 1. In the XRef Objects dialog, highlight an XRef
down the CTRL key and highlighting them in record (in the top list) that contains objects that
the list. If the source scene has a lot of object have not already been added to the scene.
types you don’t need to include, you can filter
the list by using the List Types radio buttons. 2. On the Entities List toolbar (the lower
Use the All button to select all of the entries, the toolbar), click Add Objects.
None button to select no entries and the Invert
This button is not available if all of the objects
button to highlight the opposite of your current
in the source file have already been added to
selection.
the XRef record.
Tip: You can also turn on Include All in the XRef
The XRef Merge dialog appears.
Objects dialog before you click Create XRef
3. Highlight the objects that you want to add as conflict that there was in previous versions of
XRefs, and then click OK. Autodesk VIZ. However, if you choose a different
The selected objects are added. Depending source object for an existing XRef object, this is
on the dialog settings, materials might also be resolved by object name. In this case, if the XRef
added as XRefs. source file contains multiple objects with the same
name, Autodesk VIZ might not properly define
To change an XRef object into a scene object: which one will be used.
• Highlight the XRef object in the Entities Interface

list (the lower list), and then click Merge In
Scene. The XRef object becomes a full-fledged
object in the scene, giving you access to its
modifier stack.
Tip: This button is also available in the upper
Records list, where it merges all entities from
the highlighted source record into the current,
target scene.
XRef Objects Dialog

File menu > XRef Objects > XRef Objects dialog
The XRef Objects dialog provides the interface for

loading XRef entities into your target scene (the
scene where you create the XRefs) from a source
scene (the scene file that contains the entities that
you want to externally reference). XRef entities
can be XRef objects, XRef materials, and XRef
manipulators. An XRef record can be made up of
one or more XRef entities.
The XRef Objects dialog is divided into the XRef
Record section at the top and the XRef Entities
section at the bottom. The XRef Objects dialog
provides controls to add and remove XRef objects,
XRef materials, and XRef manipulators.
When you XRef an object into your scene, Tip: You can resize the XRef Objects dialog. This
all atmospheric effects are carried over, and can be useful if you want to see all of the columns
optionally, their manipulators and modifiers can in the XRef Entities list. You can also adjust the
also be merged into your scene. relative height of the two lists in the dialog: drag
Note: When you create XRefs, they are resolved the horizontal line that is just above the XRef
uniquely, so there is not the danger of name Entities toolbar (the lower of the two toolbars).
XRef Objects Dialog 285
XRef Record toolbar Warning: If you update an XRef in a scene with radiosity
(page 2–1350), probably this will invalidate the radiosity
Use these tools to create and update XRef records.
solution. After you update the XRef, reset the radiosity
solution and then recalculate it.
Create XRef Record from File—Launches a file
dialog so you can select the source file for your Merge in Scene—Converts all objects for the
XRef record. When you a select a file, the XRef highlighted record into native objects in your target
Merge dialog (page 3–292) appears. scene. The objects, materials, and manipulators
Any transform animation assigned to the source are no longer referenced from the source file
objects can be merged along with the XRef object but become part of your target scene. A prompt
itself, but it will not be updated with the source appears so you can confirm the action. Since a
object. merged XRef object becomes part of the scene and
is no longer an XRef, its name is removed from the
Remove XRef Record—Deletes the highlighted list below. This works on a XRef record basis, so all
XRef records after you confirm the action. All entities belonging to the highlighted XRef record
entities associated with the highlighted records are converted. The contents of the source file are
are removed. not affected by this button.
Note: Once you have removed an XRef record, you Merging an XRef object loads the full modifier
cannot undo this action. stack of the original object into the target scene
(your current scene), while maintaining any
Combine XRef Records—Click to combine additional stack items that were added while the
the contents of more than one XRef record into object was an XRef. Thus, you can use Merge In
one record. This is useful when you want to clean Scene to update an object that has been modified
up the organization of your XRef records. Rather as an XRef.
than having multiple entries of the same file, you
can group all of the objects and materials from Convert Selected Object(s) as XRef
that file under the same record. This button is Record—Creates a source file for currently selected
available only when you highlight two records objects. This means that you can select objects in
that refer to the same file; both records must have the current scene and then save them to a scene
identical settings. XRef records must refer to the file. This file is then listed as an XRef record that
same file with the same XRef entities. Combine contains only the objects you selected.
XRef Records only allows you to consolidate all of Note: This option works best for new objects, not
the entities of one file into one XRef record entry. objects that have been XRefed already. If you use
It does not allow you to combine the contents of it for an object that is already an XRef, it creates
different files, even if the files have the same name. a nested XRef. Nested XRefs still behave as you
expect, but they can reduce performance when
Update—Refreshes the contents of all you open a scene or render it.
XRefs. If the objects, materials, or manipulators
referenced have changed in the source scene, you Select—Selects all of the objects that belong
will see these changes in your target scene. to the currently highlighted XRef record.
Note: The changes must be saved in the source file
before you see them in the target file.
If you create an XRef record when Include All is

Select by Name—Opens the Select Objects
turned off, only those entities selected for that
dialog, which lists all objects and highlights those XRef record (in the XRef Merge dialog) will be a
belonging to the currently highlighted XRef part of the record: any new objects created in the
Record. Use this dialog to select specific XRef source file will not be part of the record. If Include
objects. All is turned on when you create a record, then
any new objects created in the source file will be
Highlight selected object(s) XRef included in the XRef record when you reopen or
Records—Based on the current object selection, Update the target file.
the corresponding records are highlighted in the
XRef Objects dialog. If the source scene includes nested XRefs, using
Include All can cause some confusion if you are
XRef Record list not careful about your tree of scenes. Consider the
following arrangement:
Displays the names of the source files that contain
target.max (Include All) --> a.max (Include All) --> b.max
the source objects used as XRef objects in the
current scene. These files are added using the If you later open b.max, create new objects,
Create XRef Record button and removed using the and save it, then open master.max without first
Remove XRef Record button. opening and saving a.max, you won’t see the new
objects created in b.max. The scene target.max
To see the full path of the source file, move the
is simply reading a.max, and since a.max hasn’t
cursor over the name of an XRef record. The full
changed, the new objects aren’t present.
path is displayed in a tool tip.
Automatic Update—When on, changes made to
If a source file itself contains XRefs, a plus/minus
referenced objects, materials, and manipulators
icon appears to the left of its name. Click the icon
in the source scene are automatically updated in
to expand or collapse the display of nested XRef
the target file as soon as the source file is saved.
entries. Nested XRef records that are missing and
There’s no need to click Update. Default=off.
unresolved are displayed in gray.
Note: You can change the state of Enabled, Include
Right-clicking the XRef Record list displays a All, and Automatic Update after a record is created.
pop-up menu (page 3–289) that has further
options for managing the list and its records. Merge Materials—Combines all materials from
the source file into the target file. This means that
the material will be loaded in the master file but
will then no longer have a live connection with
Enabled—Turn off to disable all XRef objects
the source file. This is useful if you don’t require
referenced from the .max files currently
the live connection, and you want to alter the
highlighted in the XRef Record list. Disabled XRef
materials. Default=off.
files and objects are listed in gray in the lists and
are not loaded into memory. Default=on. To use Merge Materials, you must turn on this
option before you add the XRef record (source)
Include All—If you turn this on before you add a
file.
new XRef record, all the objects in the source file
are included as XRefs. This option bypasses the When Merge Materials is on and there are name
XRef Merge dialog. Default=off. conflicts between materials in the target scene and
materials in the XRef source scene (or between
XRef Objects Dialog 287
materials in two XRef records), Autodesk VIZ if you make changes in the target file, these
displays a Duplicate Name dialog (page 2–1082) changes are not reflected back into the source
so you can resolve the conflicts. file.
Merge Manipulators— When on, any manipulator • Ignore—Any modifiers assigned to the XRef
applied to the XRef object in the source file is object (in the source file) are disregarded and
combined into the scene. Manipulators are applied the base object is brought into the scene as an
to the XRef object and can be changed. However, XRef object. When you load the XRefed file
these changes have no effect in the XRef source the modifiers are not applied to the object so
file. Default=off. the modifications in the source file will not be
reflected in the master file.
To use Merge Manipulators, you must turn on this
option before you add the XRef record (source) Although the Merge Materials, Merge
file. Manipulators, and Modifiers settings are disabled
after you add a record, when you highlight the
Modifiers—Determines how modifiers from the
record in the XRef Record list, the toggles and list
source file will be loaded into your target file. field show the settings used when the record was
Modifiers are not listed as XRef entities. To see an created.
XRef modifier on the Modify panel, you must use
the Merge option. Otherwise, you have the choice XRef Entities toolbar
of either not merging the modifier information
at all (with the Ignore option) or merging the Add Objects—Click to add further entities
information with the object with the XRef option. to the highlighted XRef record. This button is
You must choose the Modifiers option before you available only when the highlighted XRef record
add the XRef record (source) file. contains objects that you have not yet XRefed.
The XRef Merge dialog appears, with a list of the
• XRef—Modifiers are contained within the XRef available objects. Highlight the objects to XRef,
object and cannot be changed. When you and then click OK.
load the XRefed file, you will see the changes
of the modifier but they will not be listed Delete XRef Entity—Click to delete the
separately from the object on the Modify panel. highlighted XRef. An alert prompts you to confirm
Additional modifiers can be applied to the XRef the action. All highlighted entities are removed
object, and will be a part of the scene; however, from the scene. You can delete XRef objects or
they will not be reflected back to the source file. materials.
Note: World-space modifers remain at the top
of the modifier stack and are not merged with Merge in scene—Merges the current selection
XRef objects. in the XRef Entities list into the target scene (the
current scene). Use this button to change XRef
• Merge—Modifiers assigned to the XRef object
objects or materials into objects that are native
(in the source file) are merged into the scene.
to the current scene. The connection between
When you load the XRefed file, you will see
the object in the source scene and in your target
the changes caused by the modifier and they
scene is broken, and the object or material that
will appear in the modifier stack in the Modify
you merged is no longer updated when the source
panel. They are applied to the XRef object and
scene changes.
can be changed in the modifier stack. However,
Autodesk VIZ prompts you to confirm the merge. XRef Record list. If no source file is highlighted,
this list is empty.
Since a merged XRef object becomes part of
the scene and is no longer an XRef, its name is Right-clicking the XRef Entities list displays a
removed from the list. pop-up menu (page 3–290) that has further
options for managing the list and the objects and
Merging an XRef object loads the full modifier
materials in it.
stack of the original object, while maintaining any
additional stack items that were added while the This list contains the following information for
object was an XRef. Thus, you can use Merge to each XRef entity:
update an original object that has been altered as
Scene Name—Name of the entity in the target
an XRef. If you do this, use Convert Selected to
(current) scene. By default, the name of the entity
save out the “improved” original into a file, which
in the target scene is the same as the name of the
then can be merged back into the original source.
entity in the source file. If you change the name
of the entity on the command panel (page 3–479)
List Objects—When on, shows the XRef and then click Refresh, the name will update in the
objects for the current XRef record in the XRef XRef Entities list.
Entities list.
Source Name—Name of the entity in the source file.
List Materials—When on, shows the XRef
You cannot change this name from the target file.
materials for the current XRef record in the XRef If the name of the entity changes in the source file,
Entities list. the XRef in the master file will become unresolved.
Note: You can enable any combination of the List Type—Whether the entity is an XRef object or
buttons to show certain types of entities and hide material.
others. This is useful for navigating the list of Status—Usually this field displays “XRef Resolved”
entities. to indicate that the XRef is valid. When an XRef is
unresolved this field displays “Unresolved!” An
Select—Selects the currently highlighted XRef
unresolved XRef indicates that there is no longer a
object. connection between the entity in your master file
and the source file. This can happen for a number
Select by Name—Opens the Select Objects of reasons. For example, the entity in the source
dialog, which lists all objects belonging to the file might have been renamed or deleted.
currently highlighted XRef Record. Use this dialog
Note: If you resolve the cross reference the XRef
to select objects.
will be resolved again when you click Update.
Highlight Selected XRef Records Proxy—Whether a proxy is enabled for the entity.
(Entity)—Highlights entries in the XRef You enable and disable proxies for XRef entities on
Entities list for currently selected XRefs. the Proxy Object rollout. Displays “–––” when the
proxy is disabled and “Enabled” when the proxy
XRef Entities list is enabled.
Displays the XRef objects and materials that belong You can assign a proxy object using the Proxy
to the record that is currently highlighted in the Object rollout (page 3–299).
XRef Files List Right-Click Menu 289
Proxy Render—Whether the proxy will be used File Submenu

in the rendering. Displays “–––” when the XRef
Open—Opens the source file. If you have not saved
object will be rendered and “Enabled” when the
changes to the current, target file, Autodesk VIZ
proxy object will be rendered.
prompts you to do so.
Proxy Name—Name of the proxy object that will be
Browse—Displays a file dialog that lets you browse
used as the XRef object.
for a new source file. The file you choose replaces
Proxy Filename—Name of the file that contains the the selected file record in the XRef Objects dialog.
proxy object to use for the XRef object.
Reveal Location in Explorer—Launches an instance
Proxy Path—Path of the file for the proxy object to of Windows Explorer, open to the folder in which
use for the XRef object. the selected source file resides.
Strip Path—Removes path information from the
file name, saving only the file name itself. The
XRef Files List Right-Click Menu source file location is saved relative to the target
File menu > XRef Objects > XRef Objects dialog > file location.
Right-click the list of XRef files (records).
Warning: If you strip the path before you have saved the
target file, the record’s XRefs can become unresolved.
This pop-up menu appears in the XRef Objects
This is because there is no location for the Untitled,
dialog (page 3–284) when you right-click the
unsaved MAX scene.
upper list of files or “records.” It provides
additional options for managing the list. Resolve Path to UNC Location—If the record’s file
name has had its path stripped, this option restores
Some of the options on this menu are unavailable
the full path name.
unless you have highlighted a record in the Files
list.
Interface Combine XRef Records—Click to combine the

contents of more than one XRef record into one
Create XRef Record from File—Launches a file
record. This is useful when you want to clean up
dialog so you can select the source file for your
the organization of your XRef records. Rather
XRef record. When you a select a file, the XRef
than having multiple entries of the same file, you
Merge dialog (page 3–292) appears. can group all of the objects and materials from
Remove XRef Record—Deletes the highlighted that file under the same record. This option is
XRef records after you confirm the action. All available only when you highlight two records
entities associated with the highlighted records that refer to the same file; both records must have
are removed. identical settings. XRef records must refer to the
Note: Once you have removed an XRef record, you
same file with the same XRef entities. Combine
cannot undo this action. XRef Records only allows you to consolidate all of
the entities of one file into one XRef record entry.
It does not allow you to combine the contents of
different files, even if the files have the same name.
Update—Refreshes the contents of all XRefs. If is no longer an XRef, its name is removed from the
the objects, materials, or manipulators referenced list below. This works on a XRef record basis, so all
have changed in the source scene, you will see entities belonging to the highlighted XRef record
these changes in your target scene. are converted. The contents of the source file are
Note: The changes must be saved in the source file not affected by this button.
before you see them in the target file. Merging an XRef object loads the full modifier
Warning: If you update an XRef in a scene with radiosity stack of the original object into the target scene
(page 2–1350), probably this will invalidate the radiosity (your current scene), while maintaining any
solution. After you update the XRef, reset the radiosity additional stack items that were added while the
solution and then recalculate it. object was an XRef. Thus, you can use Merge In
Scene to update an object that has been modified
as an XRef.
Select—Selects all of the objects that belong to the Convert Selected Object(s) as XRef—Creates a
currently highlighted XRef record. source file for the currently highlighted objects.
This means that you can highlight entities in the
Select by Name—Opens the Select Objects dialog,
current scene, including materials, and then save
which lists all objects and highlights those
them to a scene file. This file is then listed as an
belonging to the currently highlighted XRef
XRef record that contains only the entities you
Record. Use this dialog to select specific XRef
highlighted.
objects.
XRef Entities List Right-Click

Highlight Selected Object’s XRefs Records—In the Menu
XRef Entities list, highlights the entries for objects
that are selected in the scene. File menu > XRef Objects > XRef Objects dialog >
Right-click the list of XRef entities (objects and materials).
In the XRef Objects dialog (page 3–284), when you

Highlight All—Highlights all records in the list. right-click the lower list of entities (objects and
Highlight Inverse—Inverts the current list materials) this pop-up menu appears. It gives you
highlighting. some further options for managing the list.
Highlight None—Removes highlighting from all Interface

records in the list.
Add Objects—Displays an XRef Merge dialog (page
3–292) so you can add entities to the list.
Merge in Scene—Converts all objects for the If all entities in the source scene are already
highlighted record into native objects in your target XRefed, this choice has no effect.
scene. The objects, materials, and manipulators Delete XRef Entity—Deletes the entities whose
are no longer referenced from the source file names are highlighted.
but become part of your target scene. A prompt
appears so you can confirm the action. Since a A prompt asks if you really want to delete these
merged XRef object becomes part of the scene and XRefs.
Merge XRef File Dialog 291
Select—Selects the objects whose names are restore the XRefed source material if the material
highlighted. was originally merged into the target scene.
Select by Name—Opens the Select Objects dialog,
which lists all objects and highlights those whose
names are highlighted in the entities list.
Merge XRef File Dialog
File menu > XRef Objects > XRef Objects dialog > XRef
Highlight Selected Object’s XRefs—When XRef Files window > Add
objects are selected in the scene, this choice
highlights their entries in the entities list. When you merge an object that’s linked to a parent
Highlight All—Highlights all entities in the list. object in a source scene, and an object of the same
name as the original parent exists in the current
Highlight Inverse—Inverts the current set of entities scene, you can recreate the same hierarchy using
that are highlighted. this dialog.
Highlight None—Turns off highlighting for all
entities in the list. Interface
List Objects—Toggles display of XRef objects in If you merge an object that’s linked to a parent
the list. object in a source scene, and an object of the same
name as the original parent exists in the current
List Materials—Toggles display of XRef materials scene, a dialog appears asking if you want to link
in the list. the incoming object to the existing parent object.
The state of List Objects and List Materials is the
same as the state of the toolbar buttons in the XRef
Objects dialog. Changing the state in the menu
changes the button state, and vice versa.
Merge in Scene—Merges the current selection in
the XRef Entities list into the target scene (the
current scene). Use this button to change XRef
objects or materials into objects that are native
to the current scene. The connection between
the object in the source scene and in your target
scene is broken, and the object or material that
you merged is no longer updated when the source
scene changes. Yes—Reparents the specified object and continues
Autodesk VIZ prompts you to confirm the merge. prompting for all subsequent merging objects that
might need reparenting.
Apply XRef Material(s) to Object(s)—Applies the
original, XRefed material to the highlighted Yes To All—Reparents the specified object and all
objects. This can be useful if you have assigned a subsequent merging objects that need reparenting.
local material to the object (for example, to use in No—Merges the specified object without
renderings of the target scene) and now want to reparenting, but continues to prompt for
restore the object’s original material. It can also subsequent objects.
No To All—Doesn’t reparent any of the incoming

objects. When an object is merged without XRef Scene
reparenting, it becomes a child of the world.
File menu > XRef Scene
Note: This same alert appears when adding an
XRef object to the scene, if the XRef source object An externally referenced scene, or XRef scene,
is linked to an object and an object of the same appears in your current file, but is actually loaded
name exists in the current scene. temporarily from another .max file. As a result, the
This feature can also be used to reconnect parent
source scene is protected from any modifications
you might make to the XRef scene. Updates
objects to children in the scene.
or changes made to the source scenes are also
updated in the target file once the changes are
made and saved to the source file.
XRef Merge Dialog
XRef scenes allow a team working on a project
File menu > XRef Objects > XRef Objects dialog > Add
button > Open File > XRef Merge dialog to have access to each other’s work without the
risk of changing the files. A designer can model
The XRef Merge dialog lets you choose which a building, a second modeler might create the
objects to add as XRef objects to the scene. This landscape. The animator can externally reference
behaves similarly to the Merge command (page the setting as a scene and animate the cameras in
3–97); controls in this dialog are similar to those the setting without being able to make changes
in the Select by Name dialog (page 1–74). to the setting. If the setting file is changed, those
changes will be reflected in the animator’s scene.
XRef scenes do not appear in the Select Objects
dialog, the modifier stack, or the Track View. They
can be animated in the current file only by using
the Bind To Parent function in the XRef Scenes
window.
XRef Scene 293
Ordinarily, Autodesk VIZ would recognize this as

a circular dependency, and disallow it. However,
you can set up such a combination of XRefs by
following these steps:
1. In scene 2, XRef scene 1 and use the toggle to
flag it as an overlay.
2. Save scene 2.
Importing the whole village model into the building model 3. Open scene 1, and XRef scene 2.
as an XRef
The previous example is not particularly practical.
Radiosity solution data cannot be part of an XRef if But suppose you want to mask off part of your
objects have duplicate names. To solve this, change scene so other artists who XRef the scene will
the duplicate names. Also, to reference radiosity not see it. For example, you are working on a
data externally, the Save Scene Information In building and have XRefed a CAD file that lays out
MAX File switch must be on in the Radiosity panel the plumbing of the building, as well as a scene of
(page 3–543) of the Preferences dialog. (It is on ground terrain that contains some XRefs to some
by default.) trees. The XRef scene graph might look like this:
Be aware that render effects and environment
effects are not carried in XRefs. To use the render
effects (such as glow or flare) or environment
effects (such as atmosphere or fog) from the XRef
file, merge them in using the Merge buttons found
in the Environment And Effects dialog.
Choosing XRef Scene displays the XRef Scenes
Overlays
Overlays allow multiple scene references without
the risk of circular dependencies. The overlay is
loaded only into the target scene that references it,
and is not visible in other scenes that might XRef
the target file that uses the overlay. Consider two
scenes that reference each other:
The building scene XRefs the terrain and the

plumbing data. The terrain scene XRefs the trees.
You decide you are the only one who needs to see
the CAD plumbing data. The CAD plumbing data
is needed only to line up where the sinks need to be
in the building, so you set up the CAD plumbing
data XRef to be an overlay. Other scenes that
include the building scene won’t see the plumbing.
For example, another artist who is responsible for
the lighting and cameras sets up an XRef to the
building scene. Now the XRef graph looks like this:
But the artists working on Building A and the

artist working on the sky bridge need to see each
other’s work to make sure everything lines up. The
obvious solution would be to XRef each other’s
scene file:
In this case, an overlay is used to simply hide data

information from other target scenes. Another use
of overlays is to avoid circular XRefs. For example,
picture four artists working on a scene of a city
block. Two of them are working on individual
buildings, one is working on a sky bridge that
connects the two buildings, and the fourth artist is
setting up the cameras and the lights. The graph of
XRefed scenes might look like this:
However, Autodesk VIZ detects a circular XRef

and won’t allow this, unless both the Building A
scene and the Sky Bridge scene flag their XRef as
an Overlay.
XRef Scene 295
shapes, helpers, or animation. You can control

when the file updates, either automatically or
on demand. You can have the file enabled or
disabled, or you can merge in it completely,
severing the XRef relationship and inserting
the scene into your current file. You can bind
the scene to a Parent object to reposition or
animate the XRef scene.
To scale, rotate, or reposition an XRef scene:

1. Create an object in your current scene to be the
parent object.
2. Choose the XRef scene from the XRef File
window.
3. Click Bind (in the Parent group), and then
select the parent object by clicking it in the
Warning: If you turn off the Overlay flag for an existing
viewport. The XRef scene jumps to match the
XRef scene, you can cause circular XRefs to occur, that
pivot point of the parent object.
aren’t detected until you or another user tries to open
one of the scenes in the project. 4. Transform the parent object. The XRef scene
will follow.
Procedures This works best if both the parent object and the
To add an XRef scene: XRef scene have their pivot points positioned
at 0,0,0. You can do this by using Transform
1. Choose File > XRef Scene.
Type-In to move the parent object.
2. Click the Add button. An Open File dialog
If the XRef scene was created a large distance
appears that lets you locate the .max file you
from the origin, you can run into a problem. As
wish to reference. A thumbnail display is
you try to scale, the XRef scene will move away
provided to help you identify your file.
from the center. To counteract this problem,
3. Click Open to bring the XRef scene into your you can create a second dummy object centered
current .max scene. over the XRef scene. Then select and link the
4. The path and file name of the selected file original dummy object to the centered dummy
appears in the XRef Files window. object. You can then scale the centered dummy
You can add as many files as you like; each one and the XRef will not move toward or away
appears in the XRef Files window. from the origin.
5. Make additional choices in the XRef Scene

An alternative method for scale problems is
window if you want. to use the Rescale World Units Utility (page
2–666) on the original file.
You can affect the display of the XRef scene,
making it visible or not, or making objects
in the referenced scene appear as bounding
boxes. You can ignore the file’s lights, cameras,
Interface
XRef Scenes Dialog
File menu > XRef Scene > XRef Scenes dialog
The XRef Scenes dialog lets you add and remove

XRef scenes. It also gives you tools to control
the display of the XRef scene, options to ignore
various components of the scene, and the ability
to bind to a parent object so you can scale, rotate,
or move the XRef scene.
Accessing XRef Scenes

Although XRefs are inaccessible “boxes” in the
scene, they can be accessed in various ways.
• Cameras and lights in the XRef scenes can be
accessed in the Viewports list and assigned to
viewports in the current scene.
• Objects from the XRef scenes are included in
the Summary Info dialog.
Nesting XRef Scenes

XRef scenes can be nested. That is, an XRef scene
can contain other XRef scenes, which can in turn XRef Files list—Displays all XRef scenes in the
contain other XRef scenes. current scene, and lets you select them for
operations. XRefs that have been disabled (by
Note: For a nested XRef scene to update
turning off Enabled) are listed in gray rather than
automatically, all of its parent scene files (files that black. If an XRef is listed in red, that means its file
include it as an XRef) must have Auto Update could not be loaded. Either the file is corrupted,
turned on. or the path is not pointing to the correct directory
or file name.
XRef File path field—Lets you change the path or
file pointed to by a selected XRef scene. To use,
choose one of the XRef scenes in the list, and then
change the information in the field. You can either
directly enter a new file name or path, or you can
click the Browse button to the right of the field,
and then choose a new file from the resulting
file dialog. The new XRef scene that you choose
replaces the one currently highlighted in the list.
XRef Scenes Dialog 297
Add—Displays a file dialog from which you can becomes part of the scene and is no longer an
choose a .max scene file to be loaded into the XRef, its name is removed from the list.
current scene as an XRef. The selected scene
appears in the list at left, and the geometry appears Update File group
in the viewports. Determines how and when the XRef scenes are
You can also add a scene by dragging a .max file updated. These options are applied to the selected
from the Windows Explorer into the list. XRefs; for example, one XRef can have automatic
updating, while another can have manual updating
Convert Selected—Lets you take any selected
(using the Update Now button).
objects in your scene and create XRefs from them.
Basically, this does a Save Selected for the objects, Warning: If you update an XRef in a scene with radiosity
which are automatically cut from the .max file and (page 2–1350), you will likely invalidate the radiosity
pasted into a new file. A file dialog lets you name solution. After you update the XRef, reset the radiosity
the new file. They remain in the viewport but are solution and then recalculate it.
now XRefs. Automatic—When this check box is turned on, the
Remove—Removes the XRef scene currently selected XRef scene is automatically updated when
chosen in the list, and removes it from the current its source scene is saved.
scene. To use, choose one or more XRef scenes in Update Now—Click this to update a selected XRef
the list, and then click the Remove button. scene when you’re not using Automatic (or when
several XRef scenes are selected and some of them
Select buttons are not set to Automatic). When you click Update
These standard buttons change the pattern of Now, the XRef is updated to match the latest saved
selection in the list. version of the source scene.
All—Selects all items in the list. Display Options group

None—Deselects all items in the list. These options let you specify how the selected
Invert—Inverts the current selection pattern in the XRefs are displayed in viewports. These options
list. have no effect on the rendered scene.
Visible—Turn on or off to display or hide the
XRef File group selected XRefs. This affects the visibility of the
Enabled—Turn this off to disable the highlighted XRef in the viewports only (not in renderings).
XRef. When an XRef is disabled, it’s listed in gray Note, also, that this behavior is different from the
in the list, and it’s not loaded into memory. “Enabled” check box. Turning off Visible does not
remove the XRef from memory.
Overlay—When on, treats the referenced
source scene as an overlay (page 3–293). Box—Turn this on to display the selected XRefs
Default=off. as bounding boxes. Turn off to display the full
geometry.
Merge—Click this to merge selected XRefs into
the scene as real geometry. A prompt appears so Ignore group
you can confirm the action. Since a merged XRef
This group box lets you specify categories that you
do not want included with the XRef scene. For
example, if you turn on Lights, the lights in the buttons on the toolbar, but it is not quite the same.
XRef source scene are not included in the current, When you Bind an XRef scene to an object, the
target scene. You can switch these categories on XRef scene moves so that the origin of the XRef
and off at any time, but if you Merge an XRef scene scene is placed at the pivot point of the parent
while a category is turned off, that category of object. If you unbind an XRef scene, it again moves
objects will not be merged into the scene. so that its origin is at the origin of the current
scene. (The origin of an XRef scene is typically
Lights—Turn this on to ignore the lights.
the 0,0,0 world origin of the .max file scene from
Cameras—Turn this on to ignore the cameras. which it came.)
Shapes—Turn this on to ignore the shapes. If you Merge a linked XRef scene, converting it
to objects in the current scene, the objects in
Helpers—Turn this on to ignore the helpers.
the XRef scene become linked children of the
Animation—Turn this on to ignore the animation. binding parent. At this point, you could Unlink
All animation in the scene is disabled and the scene them (using the toolbar command), and they’ll
appears as it would at frame 0 of the source scene. maintain their offset position to the parent.
Warning: Children of an ignored object are also ignored. Close—Click to close the dialog.
For example, if you have mesh objects linked as children
to a dummy object and ignore Helpers, then the mesh
objects are ignored as well. XRef Object Rollout
Parent group Select an XRef object. > Modify panel > XRef Object
rollout
These controls let you position and animate XRef
scenes within the current scene by binding the When you’ve selected an XRef object in a scene,
XRef scene to a parent object. the XRef Object rollout appears along with the
Parent Name field—Displays the name of the parent Proxy Object rollout (page 3–299) on the Modify
for the currently selected XRef. panel. The modifier stack for the XRef object
simply displays “XRef Object.”
Bind—Click this, and then pick an object in
the current scene to become the parent of the
highlighted XRefs. The XRef scene is moved so
that its original origin is placed at the pivot point
of the parent object. Once an XRef is bound to
a parent object, the transforms of the parent are
inherited by the XRef. Thus, you can animate the
XRef by animating the transforms of the parent.
Unbind—Click to unbind the highlighted XRefs
from whichever parent they’d been bound to. The
XRef immediately moves so that its original origin
is placed at the world origin of the current scene.
Binding XRefs to objects is similar to linking
objects, as performed with the Link/Unlink
Proxy Object Rollout 299
Interface Object Name display—Displays the name of the

source object.
Path button—Displays an XRef Merge dialog

(page 3–292) pointing to the scene in the XRef
File Name field. Here, you can specify a different
object to be used as the XRef object.
Proxy Object Rollout

Select an XRef object. > Modify panel > Proxy Object
rollout
When you’ve selected an XRef object in a scene, the

Proxy Object rollout appears along with the XRef
Object rollout (page 3–298) on the Modify panel.
Use these controls to specify a low-resolution
object to replace the original XRef object for easier
These controls let you change the file path, file handling in the viewports, and optionally for test
name, and object name of the source of the XRef rendering.
object.
Interface
Important: The specified file must contain an object of
the specified name, or no XRef object will appear in your
scene. Instead, a small X appears as a placeholder.
Highlight Corresponding XRef Record in

the XRef Dialog—Click to open the XRef Objects
dialog (page 3–284), with the selected object’s
record highlighted.
File Name field—Displays the path and file name
of the scene file containing the source of the XRef
object. You can edit this to point to a different path
and file.
File name display—Displays the file name only,
without the path.
Enable—When on, displays the specified proxy
Path button—Click to display a file dialog object in the viewports. When off, displays the
from which you can specify a different path and original XRef object. Note: If you turn this on
file name for the source file. when no proxy object has been specified, the XRef
Object Name field—Displays the name of the source object appears in the viewports as a small X.
object pointed to in the source file.
Use in Rendering—When on, the proxy object is Cancel—Cancels when you are rendering. OK
also displayed in the rendering. When off, the and Cancel behave the same during file opening.
original XRef object is rendered. Whichever you choose, the file still opens and the
missing XRefs appear as red in the XRef Scenes
File Name field—Specify the path and file name of
dialog.
the scene file containing the proxy object.
Browse—Displays the XRefs panel of the Configure
Path button—Click to display a file dialog from User Paths dialog, which you can use to specify
which you can specify the scene file containing the the correct file path. This lets you add, delete,
proxy object. modify, and change the list position of the paths
Object Name field—Specifies the name of the proxy
Autodesk VIZ uses to look for missing files.
object in the specified scene. This panel is identical to the one displayed by
choosing Customize > Configure User Paths >
Path button—Click to display a Merge dialog XRefs (page 3–534).
listing the objects in the specified scene file. From
here, you can select an object to be used as the If this problem occurs during network rendering,
proxy. the dialog doesn’t appear, but the errors are written
to the network log file.
Missing XRef Paths Dialog

File menu > Open > Open a file that references other
missing files.
Schematic View
If you load or render a scene with XRefs, but the
originally specified path of the XRef object or
scene can’t be found, or if the XRef object name Schematic View Window
doesn’t match the object name in the source file,
an alert appears telling you this. The alert works Menu bar > Graph Editors > New Schematic View
in the same way as the missing bitmap dialog, and Menu bar > Graph Editors > Saved Schematic Views >
provides you with three options, described below. Choose a saved schematic view.
Main toolbar > Schematic View button

Interface
The Schematic View is a node-based scene
graph that gives you access to object properties,
materials, controllers, modifiers, hierarchy, and
non-visible scene relationships such as wired
parameters and instancing.
Here, you can view, create, and edit relationships
between objects. You can create hierarchies, assign
OK—Lets you open the file. The referenced scene
controllers, materials, modifiers, or constraints.
will have placeholders, but will not exist in the
scene.
Schematic View Window 301
• Layouts are saved with the named Schematic

View file.
• Text remains readable during window
navigation.
• Schematic View includes new tools for
displaying and arranging nodes including a
new free mode.
• You can use a background image or grid in the
Schematic View window.
• You can see and edit wired parameters.
You can use the Schematic View Display floater • A new modeless display floater lets you turn on
to control what entities and relationships you and off node display by category.
want to see and work with. Use Schematic View • A new Relationship List Viewer has been
to navigate complex hierarchies or scenes with added, for quick navigation and selection
large numbers of objects. Use Schematic View to of nodes. Relationships displayed includes
understand and explore the structure of files you Lights inclusion/exclusion, all parameter
didn’t create yourself. wires, constraints, controllers, and modifier
One powerful feature is the list view. You can relationships such as path deform paths and
see the nodes in a text list which you can sort by morph targets
criteria. The list views can be used to navigate • You can now copy and instance controllers.
extremely complex scenes quickly. You can use the
• You can assign new controller types.
relationship or instance viewer within Schematic
View to see light inclusions or parameter wirings • Schematic View offers extensive MAXScript
within the scene. You can control the display of exposure.
instances or see a list of object occurrences. • Performance has been substantially improved.
Schematic View also allows for background image • Ability to drill down to more properties (such
or grid, and automatic arrangement of nodes as static values).
based on physical scene placement. This makes
arranging nodes for character rigs easier. How the Components of Schematic View
Behave
Choose between a variety of arrangement
selections so you can auto-arrange, or work in a
free mode. The layout of the nodes is saved with
the named Schematic View window. You can load
a background image as a template for laying out
the nodes in the window.
Schematic View Features

Here are some of the notable features of Schematic
View:
Everything displayed in the Schematic View

window is shown as a box with a name. There are
various conventions to indicate different states
regarding these objects.
Procedures
Solid End—Signifies that the entity is
arranged. See Using Schematic View (page 3–302)
Interface
Open end—Signifies that the entity is free.
See the following topics describing the Schematic
View user interface.
Red Border—Signifies that the entity is
animated. Schematic View Menus (page 3–304)
Schematic View List Views (page 3–306)
End Arrow—Signifies that the entity
shares a relationship with another entity. Schematic View Preferences Dialog (page 3–307)
Schematic View Toolbars (page 3–311)
White Fill—Signifies that the entity is
selected in the Schematic View window. Schematic View Display Floater (page 3–313)
See also
White Border— Signifies that the entity is
selected in the viewport. New Schematic View (page 3–314)
Delete Schematic View (page 3–314)
Up Arrow—Collapses the entity it springs
Delete Schematic View Dialog (page 3–314)
from and all child entities thereof up into the
parent entity Saved Schematic Views (page 3–314)
Schematic View Selection Right-Click Menu (page
Down Arrow—Expands the next child 3–314)
entity down from the entity that the arrow springs
from.
Using Schematic View
Overlap—Schematic View will prevent This topics includes procedures for using
newly visible nodes from overlapping with existing functionality in the Schematic View window (page
nodes. This applies to free mode: make an object, 3–300).
free it, make another object and it will fall on top
but to the right of the original object so both can To create hierarchies with Schematic View:
be accessed and moved.
1. Select the objects you want to work with in the
Instances—Schematic View will bold the text of viewport.
instanced entities, for nodes this will show up on 2. Use Zoom Extents Selected to display these
the base object entity. In the example illustrated, objects in the Schematic View window.
Box02 and Box03 are instances.
Using Schematic View 303
5. Drag to the other object you want to wire to.

3. On the Schematic View toolbar, click the
Connect button. 6. Again in the pop up that appears, select the
component you need to wire to.
4. In the Schematic View window, drag from the
child object to the parent. A dotted line follows 7. The Wire Parameters dialog appears. Make the
your cursor. Click to set the linkage. necessary selections and connect the wires.
8. Once the wiring is established you can edit the
If you are in Hierarchy mode, the children wiring by double-clicking the wire in Schematic
will arrange themselves into an indented list View.
under the parent as you create linkages.
To save a Schematic View layout:
To assign controllers with Schematic View:
1. When you have a layout you like, name the
1. On the Schematic View toolbar, click Display. layout using the Schematic View name field in
The Display floater appears. It lets you control the toolbar, just to the right of the Preferences
what you see in the Schematic View window. button.
2. On the Display floater, in the Relationships 2. Close the Schematic View window.
group, click Controllers. In the Entities group, 3. To load the saved view, go to Graph Editors
click Controllers as well. > Saved Schematic View and choose the
The buttons indent to show they are active. The schematic view from the history list.
Transforms now appear in the Schematic View
To add a background image:
window.
1. On the Schematic View Options menu, choose
3. In the Schematic View window, select the
Preferences.
transform of the object you want to assign a
controller to. 2. In the Background Image group, click the File:
button to launch the File Browser.
4. Right-click the transform, from on the Tools
quad, choose Assign Controller. 3. In the Browse Images for Input dialog, find and
highlight the bitmap you want to use, then click
5. Choose the controller you want to apply from
Open.
the list, then click OK.
4. On the Schematic View Preferences dialog, in
To wire parameters with Schematic View: the Background group, turn on Show Image.
1. Using the Display Floater, turn on Param Wires The Background bitmap show up in the
in the Relationships group. Schematic View window.
2. In the Schematic View window, select one of Tip: Turn on Lock Zoom Pan, if you want to
the objects you want to wire. zoom in or pan the background image.
3. Right-click the selected object and choose Wire
To navigate complex scenes:
Parameters.
Complex scenes can be navigated quickly by using
4. In the pop up that appears select the component
the list viewer combined with the pan or zoom to
you want to wire, either a Transform or an
selected option.
Object parameter, for instance.
1. Open Schematic View
2. Press H on the keyboard and enter the name

of the object you’re looking for in the Select Schematic View Menus
Objects field. Press Enter to select the object
Menu bar > Graph Editors > New Schematic View > Menu
by name. bar
Menu bar > Graph Editors > Saved Schematic Views >
3. On the window navigation tools press Choose a saved schematic view. > Menu bar
Zoom Selected.
Main toolbar > Schematic View button > Menu bar
The Schematic View window now clearly shows
the object node.
Edit Menu
4. On the List Views menu, choose Show
Occurrences. Connect—Activates the connect tool. The connect
tool in Schematic View can be used to create any
The List viewer displays the Object Occurrences relationship or constraint, are can be used to
dialog. assign modifiers.
This is a sortable list. You can click the header
Unlink—Disconnects the selected entities.
title to sort by it.
Note: Object Occurrence is being used as an Delete—Removes entities from Schematic View
example here. You can use any of the List View and from the scene. Disconnects selected
menu choices to display a list of objects based relationships.
on a certain relationship. Assign Controllers—Let’s you assign controllers to
transform nodes. Only available when controller
5. On the Options menu choose Pan to
entities are selected. Opens the standard assign
Selected. Now click through the nodes in the
controller dialog.
list.
Wire Parameters—Let’s you wire parameters using
The Schematic View window updates to display
each node as you click. Schematic View. This is active only when entities
are selected. This launches the standard Wire
This method makes navigation of very complex Parameters dialog.
scenes much more convenient. Also when
working with lists such as relationships or Edit Object Properties—Displays the Object
instances you have the additional ability to Properties dialog for selected nodes. This is
detach the relationship or make the instance unavailable when no nodes are selected.
unique.
Select Menu
Select tool—Activates the Select tool when in
Always Arrange mode and Select and Move tool
when not.
Select all—Selects all entities in the current
Schematic View.
Select none—Deselects all entities in the current
Schematic View.
Schematic View Menus 305
Select invert—Deselects selected entities and Show Background—Displays an image in the

selects unselected entities in the current Schematic background of the Schematic View window.
View.
Refresh V iew—Redraws the contents of the
Select children—Selects all children of currently Schematic View window with all changes made to
selected entities. it or with changes made in the scene.
Deselect children—Deselects children of all selected
Layout Menu
entities. Parent and child must be selected for child
to become unselected. Display Floater—Displays or hides the Display
Floater which controls what is displayed in the
Select to scene—Selects in viewport all nodes that
are selected in Schematic View. This is unavailable
when Sync Selection is active Align—Lets you define the following alignment
options:
Select from scene—Selects in Schematic View
all nodes that are selected in viewport. This is • Left—Aligns selected entities to the left edge of
unavailable when Sync Selection is active. the selection, leaving vertical positioning intact.
• Right—Aligns selected entities to the right edge
Sync Selection—Creates a mode that lets you
of the selection, leaving vertical positioning
select objects in the Schematic View and have
intact.
them instantly selected in the viewport, as well
as select them in the viewport and have them • Top—Aligns selected entities to the top edge of
instantly selected in the Schematic View. This the selection, leaving horizontal positioning
menu selection toggles Sync Selection on and off. intact.
• Bottom—Aligns selected entities to the bottom
View Menu edge of the selection, leaving horizontal
Pan Tool—Activates the pan tool. Lets you move positioning intact.
horizontally or vertically in the window. • Center Horizontal—Aligns selected entities to
Zoom Tool—Activates the zoom tool. Lets you the horizontal center of the selection, leaving
move closer to or further from the Schematic vertical positioning intact.
display. • Center Vertical—Aligns selected entities to
the vertical center of the selection, leaving
Zoom Region Tool—Lets you draw a zoom window
horizontal positioning intact.
on the area of the Schematic view you want to see
up close. Expand Selected—Reveals the display of all child
entities of selected entity.
Zoom Extents—Zooms the window back so all the
nodes in the Schematic View are visible. Collapse Selected—Hides the display of all children
of selected entity, leaving the selected entity visible.
Zoom Extents Selected —Zooms the window back
so that all the selected nodes are visible in the Hide Selected—Performs the action of hiding
display. whatever is selected in the Schematic View
window.
Show Grid—Displays a grid in the background of
the Schematic View window. Show All—Displays everything in the scene in the
Arrange Children—Arranges the display of children

based on set arrangement rules (align options)
below the selected parent.
Arrange Selected—Arranges the display of children
Reference Mode—Sets Schematic View to display
Free Selected—Frees all selected entities from entities as a reference graph instead of hierarchy.
arrangement rules, tags them with a hole icon on Switching between Hierarchy and Reference mode
their left end and leaves them in place. Use this to is nondestructive.
freely arrange selected objects.
Free All—Frees all entities from arrangement rules,
tags them with a hole icon on their left end and
leaves them in place. Use this to freely arrange all
objects.
Shrink Selected—Hides all selected entities’ boxes,
keeps arrangement and relationships visible.
Move Children—Sets Schematic View to move all
Unshrink Selected—Makes all selected shrunk
children of parent being moved. When this mode
entities visible.
is on, the toolbar button is activated.
Unshrink All—Makes all shrunk entities visible.
Preferences—Opens the Schematic View
Toggle Shrink—Changes the state of entity Preferences Dialog (page 3–307). Here you control
shrinkage. Shrunk entities become unshrunk, and what displays in the window by filtering for
the other way around. categories and setting display options.
Options Menu
Always Arrange—Sets Schematic View to
Schematic View List Views
always arrange all entities based on the chosen Menu bar > Graph Editors > New Schematic View > Menu
arrangement preference. Displays a pop-up bar
warning before doing so. Choosing this activates Menu bar > Graph Editors > Saved Schematic Views >
the toolbar button. Choose a saved schematic view. > Menu bar
Main toolbar > Schematic View button > Menu bar

Hierarchy Mode—Sets Schematic View to display
entities as a hierarchy instead of reference graph.
Children appear indented below the parent. Schematic View supports several list views that
Switching between Hierarchy and Reference mode display objects and their relationships in a list.
is nondestructive. These include list views for instances, object
occurrences, and relationships. Use these lists
to quickly edit your parameter wiring, detach
relationships, or make instances unique. Use
the List options to synchronize the list with the
Schematic View Preferences Dialog 307
viewport or the node display in the Schematic Options Menu in the List View Dialogs
View window.
Options for list view let you synchronize the list
selection with the viewport and the Schematic
Interface View window.
Sync selection—When this is turned on, Schematic
View selection corresponds to selections made in
the list.
Pan to Selected—When this is turned on,
Schematic View pans to put the entity selected
List view displaying relationships in the list into the center of the Schematic View
All Relationships—Opens or redraws List View with
within the existing zoom factor. For Instances
all relationships of currently displayed Schematic and Occurrences this will be single entities, for
View entities. Relationships it will be two entities.
Zoom to Selected—When this is turned on,
Selected Relationships—Opens or redraws List
View with all relationships of currently selected Schematic View zooms extents around the entity
Schematic View entities. selected in the list. For Instances and Occurrences
this will be single entities, for Relationships it will
All Instances—Opens or redraws List View with all be two entities
instances of currently displayed Schematic View
Respect display—When this is turned on, the List
entities.
View will only show entities turned on for display
Selected Instances—Opens or redraws List View by the Display Floater.
with all instances of currently selected Schematic
View entities.
Show Occurrences— Opens or redraws List Schematic View Preferences
View with all entities that share a property or Dialog
relationship type with currently selected entities
Menu bar > Graph Editors > New Schematic View >
Display > Filters
All Animated Controllers—Opens or redraws List
View with all entities that have or share animated Menu bar > Graph Editors > Saved Schematic View
controllers. > Open any existing Schematic View > toolbar >
Preferences button.
The Schematic View Preferences dialog controls

Make Unique—In the All Instances and Selected what is shown and what is hidden based on
Instances views, this makes the selected entity a categories. You can filter the objects appearing in
copy and takes it out of the list. the Schematic View window, so you only see what
Detach—In the All Relationships and Selected you need to.
Relationships views, eliminates the selected You can add a grid or background image into your
relationship and takes it out of the list. Schematic View window. Here you can also choose
the arrangement method and determine the
synchronization between viewport selection and
Schematic view window selection. You can also set Modifier Stack—Turns on and off the display of
the style for the node connections. By selecting modifier nodes.
the appropriate filters in this dialog you can make
Materials/Maps—Turns on and off the display of
working with Schematic View more controllable.
material nodes in the Schematic View window.
Hide the materials when you are animating and
Interface
don’t need to see them, display them when you
want to select materials or make changes to the
material of various objects.
Note: Schematic View does not support the ability
to manipulate maps. You can not paste a map from
one material to another.
Controllers—When this is turned on, controller
data is included in the display. When this is turned
off Controllers, Constraints and Param Wires
relationship and entity buttons are unavailable in
the Display floater. When this is on, you can assign
controllers or wire parameters using the tools quad
of the Schematic View right-click menu.
Static Values—When this is turned on, unanimated
scene parameters are included in the Schematic
View display. Turn this off to prevent the window
Include in Calculation group from filling up with everything seen in Track View.
Schematic View can traverse the entire scene,
Include Only group
including materials, maps, controllers, and so
on. The Include In Calculation settings control Selected Objects—Filters the display of selected
which scene components Schematic View will objects. Check this box if you have a lot of objects
know about. The Display Floater then controls and only want Schematic View to display the
what is displayed. So, if you don’t Include viewport selection.
Materials, you can’t display materials. If you don’t Visible Objects—Limits the display in Schematic
include controllers, you can’t display controllers, View to the visible objects. Hide objects you don’t
constraints, or parameter-wiring relationships. need to display, then check this box to contain
If you have a huge scene and are interested only clutter in Schematic View.
in using Schematic View for selection, you can Animated Objects— When this is turned on, then
turn everything off except Base Objects. If you only objects that have keys and their parents will
are interested only in materials, you can turn off be included in the Schematic View display.
controllers, modifiers, and so on.
Base Objects—Turns on and off the display of the Hide By Category group
base objects. Use this to remove clutter in the These toggles control the display of objects and
Schematic View window. their children, by category. The categories are:
Schematic View Preferences Dialog 309
• Geometry—Hides or displays geometric objects Grid group

and their children.
This group controls the display and use of a grid
• Shapes—Hides or displays shape objects and in the Schematic View.
their children.
Show Grid—Displays a grid in the background of
• Lights—Hides or displays lights and their the Schematic View window.
children.
Snap to Grid—When this is on, all moved entities
• Cameras—Hides or displays cameras and their
and children of those entities will snap their upper
children.
left corners to the nearest grid point. Entities not
• Helpers—Hides or displays helper objects and snapped to a grid point when snap is enabled will
their children. not snap until they are subsequently moved.
Be aware that if you have a hierarchy linked to a Grid Spacing:—Sets the spacing units of the
helper such as a dummy, and you hide the dummy, Schematic View grid. This uses the standard that
you’ll also hide the children. entities are 20 grid units high and 100 grid units
long.
Link Style group
Bezier Lines—Displays the reference lines with
arrowheads as Bezier curves. Arrange Method group
Arranging always takes place within the confines
of the positive X and negative Y space which is
delineated by the darker grid lines.
Stacked—When this is turned on, arranging via
Straight Lines— Displays the reference lines as Always Arrange, Arrange Children or Arrange
straight lines instead of Bezier curves. Selected will result in the hierarchies being stacked
below a width that is determined by the extents of
the highest entities in the view.
Horizontal—When this is turned on arranging
using Always Arrange, Arrange Children or
Arrange Selected will result in the hierarchies
Circuit Lines—Displays the reference lines as being distributed along and below the y=0 line.
orthogonal lines instead of curves. Arranging always takes place within the confines
of the positive X and negative Y space.
Vertical—When this is turned on arranging using
Always Arrange, Arrange Children or Arrange
Selected will result in the hierarchies being
distributed along and to the right of the x=0 line.
None— When this is chosen, link relationships will Arranging always takes place within the confines
not appear in the Schematic View display. of the positive X and negative Y space.
Sync Selection group Preferences group

Viewports—When this is chosen, node entities Double Buffer—Allows for double buffer display to
selected in Schematic View will have their control viewport performance.
corresponding nodes selected in the viewports.
Zoom About Mouse Pointer—When this is turned
Likewise, nodes selected in the viewports will have
on you can zoom into wherever you place your
their corresponding entities selected in Schematic
cursor. You can also zoom with the zoom wheel,
View.
or hold CTRL and press the middle mouse button.
Everything—When this is chosen, all entities
Pan to Added Nodes—When this is turned on
selected in Schematic View will have their
the Schematic View window will alter itself to
corresponding entities selected in the appropriate
accommodate new objects or nodes as they are
places in the interface, given that those places
added to the scene. When this is turned off the
are open. For instance, selecting a material in
view is unchanged. Leave this off and turn off Auto
Schematic View will select it in the material editor
arrange, and Schematic view will not disturb the
if it is open and the material is present, selecting
layout of the nodes.
a modifier in Schematic View will select it in the
stack is the Modify panel is open. Likewise, entities Use Wireframe Color—Uses the wireframe color to
selected in the scene will have their corresponding shade the node in the Schematic View window.
entities selected in Schematic View.
Display Layout Warning—When this is on,
Schematic View will show a layout warning when
Background Image group
Always Arrange is first turned on.
Show Image—When on, the background bitmap
Only Update On Focus—When this is turned on,
(if one is chosen) is displayed. When off, it is not
Schematic View only updates with additions or
displayed.
changes to the scene when it is given focus. This
By default, the background image displays at lets you avoid constant redraws when making
screen resolution at the current zoom factor of changes in the viewport to the scene objects.
Schematic View.
Move Children—When this is turned off you can
Lock Zoom/Pan—When this is turned on, zooming move the parent without affecting the children.
and panning resizes the background image When this is turned on, moving a parent also
accordingly. When turned off, the bitmap moves the children.
will remain or revert to actual pixels at screen
Show Tooltips—Toggles the display of tooltips
resolution.
when the cursor is over the node in the Schematic
File button—Click to choose an image file for the View window.
background of Schematic View.
Snap Floaters—Enables floating dialogs (Display
When no background image has been chosen, and List) to snap to the edges of the Schematic
this button displays “None.” If an image has been View window.
chosen, it shows the name of the bitmap file.
Relative Floaters—Enables floating dialogs to move
and resize as the Schematic View window is moved
and resized.
Schematic View Toolbars 311
Schematic View Toolbars Hierarchy Mode—Shows the parent/child

relationships in a cascading display. The parents
Menu bar > Graph Editors > New Schematic View > Top are to the left and up, the children are indented
and bottom toolbars
toward the right and down.
Menu bar > Graph Editors > Saved Schematic Views
> Choose a saved schematic view. > Top and bottom
toolbars References Mode—Shows relationships based
Main toolbar > Schematic View button > Top and bottom
on instances and references rather than hierarchy.
toolbars Use this to view materials and modifiers.
The Schematic View toolbar at the top of the Always Arrange—Sets Schematic View to
window contains the following buttons: always arrange all entities based on arrangement
preference (alignment options). Displays a pop-up
Display Floater—Displays or hides the Display warning before doing so. When this mode is on it
Floater. Active button means floater is open, activates the toolbar button.
inactive button means it’s hidden.
Arrange Children—Arranges the display of
Select—Lets you select objects in the children based on set arrangement rules (align
Schematic View window and in the viewport. options) below the selected parent.
Selecting objects in the Schematic View window
turns the node yellow. Selecting the objects in Arrange Selected—Arranges the display of
the viewport, outlines their Schematic View children based on set arrangement rules (align
representation box in white, but doesn’t select it options) below the selected parent.
in the Schematic view window. If you want to
the selection in Schematic view passed into the Free All—Frees all entities from arrangement
viewport use the Sync Selection button. Whatever rules, tags them with a hole icon on their left end
is selected in Schematic view will become selected and leaves them in place. Use this to freely arrange
in the viewport as well. all objects.
Connect—Lets you create hierarchies. Just as

Free Selected—Frees all selected entities from
you link objects in the viewports, you can create
linkages in Schematic View. Click the child and arrangement rules, tags them with a hole icon on
connect to the parent. You also use this to add their left end and leaves them in place. Use this to
modifiers to objects, and to wire parameters. freely arrange selected objects.
Unlink Selected—Unlinks whatever is selected Move Children—Sets Schematic View to move

in the Schematic View window. all children of parent being moved. When this
mode is on, the toolbar button is activated.
Delete Objects—Deletes whatever is selected
in Schematic View. The deleted selection Expand Selected—Reveals the display of all
disappears in the viewport and the Schematic child entities of selected entity.
View window.
Prompt Area—Provides a one-line instruction to

Collapse Selected—Hides the display of all tell you how to use the highlighted tool or button
children of selected entity, leaving the selected or provides you with details such as how many
entity visible. objects are currently selected.
Preferences —Displays the Schematic View Pan—Lets you move horizontally or vertically
Preferences dialog. This lets you control what in the window. You can also achieve the same
is displayed and hidden in the Schematic View effect by using the scroll bars at the right and
window by category. Various options are here to bottom of the Schematic View window, or by using
filter and control the display within the Schematic the middle mouse button.
View window. See Schematic View Preferences
Dialog (page 3–307). Zoom—Lets you move closer to or further
Schematic V iew Name field—Use this field to give from the Schematic display. When you first open
the particular configuration of Schematic View your Schematic View window you will spend
a name. Simply typing the name and hitting a moment zooming and panning to gain the
enter will add the named view to the list of Saved appropriate view of the objects in the display. The
Schematic View windows available from the Graph display of the nodes changes as you move in or out.
Editors menu. You can also zoom by holding CTRL and pressing
Bookmark Name field—Let’s you define a selection the middle mouse button. To zoom at the
of entities in the Schematic View window as a cursor, turn on Zoom About Mouse Point in the
bookmark, so you can easier return to them in a Schematic View Settings dialog, accessed by click
complex scene with many objects. the Preferences button.
Zoom Region—Lets you draw a zoom window

Go to Bookmark—Zooms and pans the
on the area of the Schematic view you want to see
Schematic View window so the bookmarked up close.
selection is displayed.
Zoom Extents—Zooms the window back so
Delete Bookmark—Removes the bookmark
all the nodes in the Schematic View are visible.
name that is displayed in the Bookmark name
field. Zoom Extents Selected—Zooms the window
back so that all the selected nodes are visible in the
Buttons on the Lower Toolbar display.
Zoom Selected Viewport Object—Zooms in
Pan to Selected—Pans the window to include
on whatever is selected in the viewport. You can the selected objects, within the same zoom factor,
also type in the name in the text field next to this so that all selected entities are visible within
button. current extents of the window.
Selected Object text entry window—Lets you type
in the name of the object you are looking for. Then
click the Zoom Selected Viewport Objects button
and that object will appear in the Schematic View
window selected.
Schematic View Display Floater 313
Sync Selection is on and the Modifier stack is

Schematic View Display Floater open, clicking on a base object will activate that
The Display Floater controls by category what is level of the object’s stack.
displayed in the Schematic View window. The Modifier Stack—When active, all modifiers in the
Schematic View Preferences dialog also filters that object’s stack will display as children, beginning
display of the window. Use these to manage the with the Modified Object base entity. Modifiers
clutter of the window, and the performance speed. can be copied, instanced or moved between
Note that unless you display the correct entity objects by using the Connect tool. For example,
and relationship, you will not be able to perform connecting XForm to Box01, will display the
certain operations. If you want to wire parameters, Attach Modifier dialog where you can choose
for instance, you must have Param Wires turned between Copy, Move or Instance. Deleting the
on. If you want to wire the parameters of a modifier from the Schematic View will also remove
material, you must also have Materials chosen. it from the object’s stack in the Modify panel.
Materials—When active, all materials and maps
Interface
assigned to the objects will display as children of
the objects. Materials can be instanced between
objects by using the Connect tool on the Schematic
View toolbar. For example, drag material Default1
to Box01 . Double clicking on a material will bring
up the Material editor if the Material is already in
an sample material slot.
Controllers—When this is active, all controllers
other than position, rotation and scale will display
as children of the objects’ transform controller,
which also displays. Controllers can be added to
objects only when this is active. Controllers can be
copied or instanced between objects by using the
Connect tool. For example dragging PositionXYZ
from Box01 to Position List for Box02, for instance,
will open the Attach Controller dialog, where
Relationships group
you can choose to Copy, Move or Instance this
Lets you choose which of the following controller.
relationships you want to display or create:
PRS—Lets you choose to display any combination
Constraints, Controllers, Parameter wiring, Light
of the three transform types (position, rotation
inclusion and Modifiers.
or scale).
Entities group
Selects which types of entities are displayed or
Expand—When turned on, entities that are
edited:
activated will be displayed in Schematic View.
Base Objects—When active, all base object entities When turned off, only the triangle child indicator
will display as children of the node entities. When on the bottom of the nodes will display. This toggle
only applies at activation time, it will not expand For information on the Schematic View buttons
or contract entities that are already displayed. and controls, see Schematic View Window (page
3–300).
Focus—When this is turned on, only those
entities that are related to others and have their
relationships displayed will be filled with their
color, all others will be displayed unshaded.
Saved Schematic Views
Graph Editors menu > Saved Schematic Views >
Schematic views by name
Saved Schematic Views displays a list of schematic

views by name that were previously created by
Schematic View Commands New Schematic View (page 3–314).
New Schematic View

Schematic View Selection
Menu bar > Graph Editors > New Schematic View Right-Click Menu
New Schematic View creates a new Schematic Schematic View (page 3–300) > Select any node. >
Right-click.
View window (page 3–300). You might want to
create multiple Schematic view windows filtered in The Schematic View right-click menu
different ways that you recall for quick access to contains controls for selecting, displaying, and
multiple objects. Name the new schematic view manipulating selections of nodes. It gives you
using the Schematic View name field. quick access to List Views, Display Floater and
lets you switch between Reference and Hierarchy
Mode quickly.
Delete Schematic View
Menu bar > Graph Editors > Delete Schematic View Interface
Delete Schematic View opens the Delete Schematic

View dialog (page 3–314). This will allow you to
delete a schematic view.
Delete Schematic View Dialog

Select a schematic view. > Menu bar > Graph Editors >
Schematic View > Delete Schematic View
This dialog displays all the saved schematic views.

Choose the view to be deleted from the list, then
press the delete button.
Schematic View Selection Right-Click Menu 315
Select quadrant Arrange Children—Arranges the display of children

Select Tool— Activates the Select tool when Always
Arrange is turned on. Activates the Select and
Move tool when Always Arrange is off. Unhide All—Displays all the nodes in the scene.
If the resulting Schematic View is too cluttered
Select All—Choose Select All to select everything
to work with, try using Preferences to remove
in the window.
what you don’t need to see. Or make individual
Tip: Hold down the CTRL key to add to selections, selections and hide upstream or downstream to
and the ALT key to subtract from them. unclutter the display.
Select None— Choose Select None to deselect Hide Selected—Hides the selection in the
everything. Schematic View window.
Select Invert—Deselects selected entities and Expand Selected—Reveals the display of all child
selects all other entities in the current Schematic entities of selected entity.
View.
Contract Selected—Hides the display of all children
Select Children—Selects all children of the current of selected entity, leaving the selected entity visible.
selection.
Deselect Children—Deselects children of all Edit quadrant
selected entities. Parent and child must be selected Connect Tool—Activates the connect tool. This
for child to become unselected. tool in Schematic View can be used to create many
Sync Selection—Synchronizes the selection in
Schematic View relationships such as parent,
the Schematic View window with the viewport. constraint, copy modifier, copy controller, or copy
Whatever you have selected in the Schematic material.
View window becomes selected in the viewport. Unlink Selected— Disconnects the selected entities
Whatever you select in the viewport becomes
Delete Selected—Deletes entities from Schematic
selected in Schematic View. It’s a two-way street.
View and from the scene. This also can be used to
Layout quadrant disconnect selected relationships.
Free All—Frees all entities from arrangement rules, Assign Controller—Displays the Assign controller
tags them with a hole icon on their left end and dialog. This is available only when controller
leaves them in place. Use this to freely arrange all entities are selected.
objects. Wire Parameters—Let’s you wire parameters using
Free Selected—Frees all selected entities from Schematic View. This is active only when entities
arrangement rules, tags them with a hole icon on are selected. This launches the standard Wire
their left end and leaves them in place. Use this to Parameters dialog.
freely arrange selected objects. Edit Properties—Displays the Object Properties
Arrange Selected— Arranges the display of the dialog for the selected objects.
selection based on the arrangement preferences.
Options quadrant Hierarchy Mode— Sets Schematic View to display

entities as a hierarchy instead of reference graph.
Shrink—Hides all selected entities’ boxes, keeps
Children appear indented below the parent.
arrangement and relationships visible.
Switching between Hierarchy and Reference mode
Toggle Shrink—Changes the state of entity is nondestructive.
shrinkage. Shrunken entities become unshrunken,
Always Arrange— Sets Schematic View to
and the other way around.
always arrange all entities based on the chosen
Unshrink All—Makes all shrunken entities visible. arrangement preference. Displays a pop-up
Unshrink Selected—Makes all selected shrunken
warning before doing so. Choosing this activates
entities visible. the toolbar button.
Shrink Selected— Hides all selected entities’ boxes,

keeps arrangement and relationships visible.
List Views Using File Link with

Selected Occurrences— Opens or redraws List AutoCAD, Architectural
View with all entities that share a property or
relationship type with currently selected entities Desktop and Revit Files
Selected Instances—Opens or redraws List View
with all instances of currently selected Schematic
View entities.
All Instances—Opens or redraws List View with all File Link Basics
instances of currently displayed Schematic View
entities.
Working with Drawing Files
Selected Relationships—Opens or redraws List
View with all relationships of currently selected You can attach any DWG file (page 3–670) (or
Schematic Vie entities. DXF file (page 3–670)) with the File Link Manager
(page 3–323). This feature allows you to work in
All Relationships—Opens or redraws List View with
another design software’s environment, such as
all relationships of currently displayed Schematic AutoCAD®, Autodesk® Architectural Desktop, or
View entities. Autodesk Revit® while maintaining a single design
Display Floater—Opens the Display floater and database.
activates the corresponding toolbar button. Note: For this documentation, the term “drawing”
Move Children— Sets Schematic View to move all refers to DWG or DXF files created with AutoCAD
children of parent being moved. When this mode and Architectural Desktop, or exported from
is on, the toolbar button is activated. Revit.
Reference Mode— Sets Schematic View to display Creating Links to Files

entities as a reference graph instead of hierarchy.
Switching between Hierarchy and Reference mode You can establish, reload, and detach links to
is nondestructive. any number of linked files. You can also edit out
Working with Drawing Files 317
unnecessary information by using layers and DWG file. Dynamic block instances, even those
other filters. The File Link Manager defines which that have been grip-edited, display certain types of
geometry is included in the scene from the linked instance behavior such as material propagation.
file, how the geometry is organized, and when it’s For more detailed information about dynamic
regenerated. You can also create links to files using block handling in Autodesk VIZ, see Blocks (page
the drag and drop feature. The objects that you 3–357).
bring in from linked files behave just like any other
object created in Autodesk VIZ. You can scale, Reloading, Binding and Detaching Links
rotate, and move them as well as attach modifiers to Files
and materials. You can also reload or detach linked files. When
When Autodesk VIZ stores linked file data, you reload a linked file, any changes you’ve made
you’ll need to decide how the objects from the to the linked file are applied to the reloaded
linked files will be organized in the scene. For geometry in your scene. Note, however, that
example, drawings are commonly organized by Autodesk VIZ won’t edit or change your original
layers, blocks, and objects, and Autodesk VIZ linked file. The integrity of your other software’s
scenes are organized by hierarchies of objects. design database is never compromised by the File
For translating between systems, Autodesk VIZ Link Manager. Finally, if you decide to break a
includes object types called VIZBlocks (page link to a linked file, there are two options. You
3–745) and Block/Style Parents (page 3–661). can use Bind to keep the objects from the linked
file in your scene, or you can use Detach to have
Working with VIZBlocks and Block/Style them removed along with the link. For more
Parents information, see File Link Tips (page 3–319).
A VIZBlock and a Block/Style Parent is like Note: Both Detach and Bind are available from the
a nested block; it has an object/sub-object or Files panel of the File Link Manager.
parent/child hierarchy structure. In many cases,
linked drawing data initially appears as a VIZBlock ObjectDBX Objects
or Block/Style Parent (depending on the Derive Autodesk VIZ supports the display and use of
AutoCAD Primitives By options you choose). custom AutoCAD objects. These custom objects
Using VIZBlocks is helpful when you’re working are created using the ObjectDBX™ or ObjectARX®
with layering and color schemes. You can create APIs. Applications and products that work
multiple links to the same linked file, so you can with either of these APIs can read and write to
use the same geometry in different combinations. AutoCAD drawings, and ObjectARX products can
extend the available feature set of AutoCAD.
Dynamic Blocks in Autodesk VIZ
Note: To improve file performance, some of the
Dynamic Blocks give blocks flexibility and ObjectDBX rules have been updated. This means
intelligence. A dynamic block reference can easily that some DXF files, ones built by non-Autodesk
be changed in a drawing while you work. You can products or very old DXF files, may no longer
manipulate the geometry through custom grips or import or file link into Autodesk VIZ.
custom properties.
The File Link Manager handles dynamic blocks
much the same way as any other block found in a
Object Enablers
File Link Basics
AutoCAD and AutoCAD vertical applications,
such as Architectural Desktop (ADT), have Data synchronization between drawing files
custom objects that are unique to the product. In created with AutoCAD, Architectural Desktop,
order to view them in Autodesk VIZ, you need or Revit and Autodesk VIZ is implemented using
the appropriate Object Enabler (OE). Object the File Link Manager, which keeps drawing data
Enablers let you access, display, and manipulate linked to the scenes. It is best understood through
these objects in Autodesk VIZ, as well as the other a few simple principles:
vertical applications, including Autodesk VIZ. • Changes in AutoCAD, Architectural
When you use the File Link Manager to Attach Desktop, or Revit can change the data
a DWG file to your scene, you may encounter a viewed in Autodesk VIZ, but changes in
Proxy Objects Detected dialog. This means there Autodesk VIZ never change the data in
are custom objects in the drawing that require AutoCAD, Architectural Desktop or Revit.
special Object Enablers before you can edit the Creating a file link is a one-way process
objects in Autodesk VIZ. that supports the central role of AutoCAD,
Architectural Desktop or Revit in developing
and keeping a record of your core design
database. Many changes made in AutoCAD,
Architectural Desktop or Revit will appear
in Autodesk VIZ after a file link reload.
These include adding or removing objects,
moving objects, changing material assignments
(specific to ADT and Revit drawings), and
enabling Live Section objects (specific to ADT
drawings). Changes made in Autodesk VIZ,
such as moving objects, changing material
assignments, and adding lights, will never
appear in your AutoCAD, Architectural
Desktop or Revit drawing.
Do not show this message again—Check this option • Changes you can make in AutoCAD,
to not display this message the next time proxy Architectural Desktop or Revit should be
objects are detected. made in AutoCAD, Architectural Desktop
or Revit.
For a list of downloadable OEs, see the Autodesk
Web site Changes that you make in AutoCAD,
Architectural Desktop, or Revit become part
Note: Drawings that are exported from Revit do of that database, whereas changes you make in
not require Object Enablers. Autodesk VIZ appear only in the renderings
you produce.
• Changes in AutoCAD, Architectural Desktop,
or Revit aren’t reflected in Autodesk VIZ
unless you choose them to be.
File Link Tips 319
When you make changes to drawing files, those Autodesk VIZ, and you can create your own
changes will not appear in Autodesk VIZ unless material effects using the Material Editor.
you use the Reload command (page 3–323) on Materials created with the Material Editor
the File Link Manager. When you reload a link can be assigned to any component in your
in Autodesk VIZ, you can choose to update just scene.
the geometry from AutoCAD, Architectural • Bitmaps for use as environment
Desktop, or Revit, you can reload only specific backgrounds. You can use still images
objects, or (with Architectural Desktop and in a variety of formats, or even animated
Revit drawings) you can choose to update both movies, as a rendering background to create
the geometry and the material assignments. stunning photomontages that appear to
Note: After changing your Revit project, you place your proposed design right into the
must export a new DWG file and then reload actual location.
that file into Autodesk VIZ. Autodesk VIZ
cannot link a native Revit project, RVT file, See also
directly.
File Link Manager Utility (page 3–323)
You can transform (move, rotate, or scale)
Resetting Transforms on Linked AutoCAD Objects
AutoCAD, Architectural Desktop or Revit
(page 3–341)
objects and blocks that appear in Autodesk VIZ,
and these types of changes are not lost upon
reload. If you have moved, rotated, or scaled
linked objects and want the objects to resume
File Link Tips
the position and scale they have in the original Here are some tips for choosing File Linking
drawing file, use the Reset Position function options and avoiding common pitfalls.
(page 3–341).
• Autodesk VIZ integrates linked AutoCAD, Linked Data and Face-Normal
Architectural Desktop, or Revit data with Conventions
non-AutoCAD, Architectural Desktop, or Face normals (page 3–704) can be a source
Revit data. of confusion when linking to AutoCAD,
In addition to the linked AutoCAD, Architectural Desktop, or Revit drawing files. In
Architectural Desktop, or Revit geometry and Autodesk VIZ, every face has a front and a back,
material assignments, Autodesk VIZ allows you corresponding to the inside or outside surface of
to create or merge into your scene many types a solid object. In a cube, for example, there is
of data from other sources, including: seldom the need to view the inside surface of any of
the six squares that make up the cube. So for many
• Lighting objects for simulating light fixtures
viewing and rendering operations, Autodesk VIZ
and daylight conditions.
ignores a face if it’s facing away (that is, if its face
• Entourage objects such as surrounding normal is directed away) from a point of view.
buildings, terrain, trees, cars, and people.
When you create objects in AutoCAD,
• Advanced rendering material effects that Architectural Desktop or Revit, Autodesk VIZ
simulate the rich visual variety of any generally understands which way faces should be
imaginable material. You can take advantage oriented and manages face normals accordingly.
of materials that appear on objects created in
However, occasionally you may encounter linked Note: The disadvantage of welding is that it can be
drawing geometry that displays correctly in time-consuming when you attach and reload the
AutoCAD, Architectural Desktop or Revit, but linked file. The time penalty is much greater when
doesn’t strictly respect face-normal conventions. Autodesk VIZ is creating objects that have very
This can make it appear as though elements large numbers of individual faces.
visible in the drawing file are missing or appear
“inside-out” in Autodesk VIZ. Linking Files with High Numbers of
Linear Line Segments
If this happens, try one of these four options:
Two-dimensional elements in drawing files, such
• During file link or import of the DWG file,
as lines, polylines, circles, and arcs, are represented
turn on the Unify Normals switch in either the
as splines in Autodesk VIZ. These splines carry
Basic panel of the File Link Settings dialog or
much more information at each vertex than
the Geometry Options group of the AutoCAD
typical AutoCAD 2D structures. Since some
DWG/DXF Import Options dialog.
drawing files contain large quantities of 2D data,
• If the drawing is already linked or imported, exercise caution when linking files containing a
assign a Normal modifier (page 2–167) to the high number of discrete line segments. There are
object that is not displaying properly. Turn two ways these elements can be left out of your
on the Unify Normals switch to force all the Autodesk VIZ scene;
normals to face the same direction. If the object
• by freezing their layers in AutoCAD,
then appears to be “inside-out”, also turn on
Architectural Desktop, or Revit before you start
the Flip Normals switch.
Autodesk VIZ and before each subsequent
• Turn on the Force 2-Sided switch in the Render reloading process.
Scene dialog (to render the faces correctly),
• by excluding specific layers during the File Link
and turn on Force 2-Sided in the Viewport
Attach/Reload process or Import process so
Configuration dialog (to display the faces
you do not have to freeze layers in the drawing.
correctly in the viewports.)
This is the preferred workflow.
• Apply a material with the 2–Sided switch
turned on. If you need this type of 2D geometry in your
visualization, try to use polylines instead of
Note: Using the Force 2–Sided options can result in
connected lines to get cleaner geometry in
slower performance, particularly when rendering.
Autodesk VIZ and to reduce the final size of your
Using either of the Unify Normals options is the
scene.
preferred method of handling face normals.
If you are experiencing a high volume of face 3D Solids Objects Linked into a
normal problems in a particular file, you should Autodesk VIZ Scene
verify that the Weld switch is turned on in the File 3D Solids objects in a drawing file will be
Link Settings dialog (page 3–327), and then reload tessellated (that is, turned into mesh objects with
the drawing. Weld forces nearby faces to share faces), when you link them into an Autodesk VIZ
edges and vertices. This can still result in groups scene. The fineness of the tessellation is controlled
of face normals that are flipped in Autodesk VIZ by the Surface Deviation For 3D Solids setting in
so the Unify Normals switch should also be used. the File Link Settings dialog. A high value results
in coarser tessellation. Autodesk VIZ uses less
File Link Tips 321
memory in the scene, but poor approximations resolves xrefs until it detects a circular reference.
of curved surfaces could result. For acceptable For example, if you have the circular reference
performance, keep this value as high as you can. A|B|C|A, Autodesk VIZ detects and breaks the
Tip: You can change the value of the Surface circularity between C and A. This is consistent
Deviation For 3D Solids control at any time by with the way AutoCAD or Architectural Desktop
turning on Show Reload Options on the Files handles circular xref dependencies.
panel of the File Link Manager dialog, and then
adjusting when you reload the file. Overlay External References
Autodesk VIZ treats overlay xrefs in the same way
Spline Objects Linked into a as AutoCAD when resolving xrefs.
Autodesk VIZ Scene
For more information regarding overlay xrefs,
Splines are not rendered in Autodesk VIZ unless refer to your AutoCAD User Reference.
they have rendering parameters applied to them.
Normally, you have to collapse a shape to an Cloning Actively Linked Objects
editable spline object in order to apply rendering
If you want to clone actively linked objects,
parameters; however, this is not possible with
you should only use the Copy option. Creating
spline objects from AutoCAD.
references or instances of actively linked objects is
Instead, you can apply a Renderable Spline not recommended, as reliability issues can arise
modifier (page 2–188) to the spline. This lets you when the instanced or referenced object is deleted
set rendering properties without having to collapse in the linked file.
to an editable spline.
When you copy actively linked objects, linked
through the File Link Manager (page 3–323), the
External References and Block Names
copies are automatically converted to editable
A linked AutoCAD or Architectural Desktop mesh or editable spline objects. If your selection
drawing can include xrefs that themselves contains several objects which instance another
reference different files but use the same block object, the resulting copies also instance the same
names. Autodesk VIZ keeps the blocks distinct by object.
prepending xref names to block names.
In Revit, a DWG, DXF or RVT file can be linked Compound Objects Containing Actively
to the project. This kind of link is called a RVT Linked Objects
Link (page 3–723). When the project is exported If you use an actively linked object as part of a
to a DWG file, this type of link is represented in compound object, you should always choose
the exported drawing as an xreferenced drawing. Copy when you specify how the linked object is
In this case, more than one drawing file may be transferred to the compound object. Choosing
created, with one referencing the other(s). Reference or Instance can cause instability in the
software.
Circular References
An xref file that contains a sequence of nested
references that refers back to the xref file itself is
considered a circular reference. Autodesk VIZ
Attaching Actively Linked Objects to

an Editable Mesh, Poly, Patch, or Spline Interpreting Layer Data from
Object AutoCAD, Architectural Desktop,
Actively linked objects should not be attached to or Revit
editable objects, as this introduces instability to Autodesk VIZ has its own Layer system that
the software. Instead, make a copy of the actively looks and operates like a simplified version of
linked object, and attach the clone to the editable the system you are familiar with from AutoCAD
object. or Architectural Desktop. As in AutoCAD or
Architectural Desktop, you can hide and unhide
Creating Hierarchies with Actively layers, freeze and unfreeze them, and change the
Linked Objects display color for all objects on the layer.
Creating parent-child links between actively Note: Categories in your Revit project are similar
linked objects AND Autodesk VIZ objects can to Layers in AutoCAD. When you export your
cause unpredictable results. For this reason, project to a DWG, categories are mapped to
Autodesk VIZ does not allow you to link an AutoCAD Layers via the Export Layers table. For
actively linked object to a Autodesk VIZ object. more information regarding Export Layers, refer
However, you can link a Autodesk VIZ object to to your Autodesk Revit Help file.
an actively linked object.
Layer operations are accessed through the tools on
The existing hierarchies of linked objects cannot be the Layers toolbar, and also on an object-by-object
broken in Autodesk VIZ. This would compromise basis using the quad menu (page 3–399).
the structure of Blocks and Styles. Any changes
must be made in the original DWG file. Unlinked objects, such as Autodesk VIZ objects or
drawing geometry that has been bound into the
Similarly, actively linked objects cannot be scene using the Bind command, may be assigned
included in the creation of Group (page 1–98) or to any layer you choose, including layers created
Assembly (page 1–101) objects in Autodesk VIZ. by the File Link Manager.
Controller Assignments Linked objects from AutoCAD, Architectural

Desktop or Revit, with some minor exceptions,
Actively linked objects should not be included will be assigned to the same layers they occupy in
in any IK animation chains, as they will cause program where the drawing was created.
unpredictable results. Likewise, animation
controllers should not be applied to actively linked Any changes made to the layer settings
objects. in Autodesk VIZ (hidden/unhidden,
frozen/unfrozen, display color) affect linked
Assignments to avoid include: objects just as they do unlinked objects. Also, any
• HD IK Solver (page 2–786) changes you make to the layers are not reset when
• Inherit Link Info (page 2–817) you reload the drawing.
• Link Inheritance Utility (page 2–780) You can rename layers created by the File Link
Manager. When the next reload occurs, the
• Assign Controller (page 2–857)
renamed layer is not affected by the File Link
Manager. Objects on the renamed layer are
updated; however, they remain on the same layer.
Scale Synchronization 323
The original layer is only recreated when a new See also

object has been created in the DWG file. New
Using Units (page 2–618)
objects are never placed on the renamed layer.
You can also delete layers imported by the File
Link Manager (page 3–323); but only if they don’t
contain any objects.
You can move actively linked objects between File Link Manager
layers in Autodesk VIZ. When the next reload
occurs, the objects are updated; however, they
are not moved back to their original layers. File Link Manager Utility
You can also place non-linked objects, such as
Utilities panel > Utilities rollout > File Link Manager
Autodesk VIZ objects or drawing geometry that
has been bound into the scene, on any of the File menu > File Link Manager
imported layers.
Objects contained in layers that are frozen in The File Link Manager utility allows you to work
AutoCAD or Architectural Desktop are not linked in either another design software’s environment
to Autodesk VIZ. Objects that were originally (such as AutoCAD) or in Autodesk VIZ
linked to Autodesk VIZ are removed if their layer while maintaining a single design database.
is frozen in AutoCAD or Architectural Desktop If you use AutoCAD drawings, this feature
and the link is reloaded, but they are added again, works with drawings from AutoCAD Release
upon reload, after their layer is unfrozen in the 12 through AutoCAD 2005, including the
program where the drawing is created. Mechanical/Architectural Desktop and Revit
applications.
Note: This is only the case if Skip all Frozen Layers
is active on the Select Layers dialog (page 3–337). You can establish, refresh, and break links to
If you select the layers individually from a list, you any number of linked files. You can also edit
can bring in data on frozen layers. out unnecessary information by using layers
and other filters. The File Link Manager defines
See also which geometry is included in the Autodesk VIZ
scene from the linked file, how the geometry is
Using Layers to Organize a Scene (page 3–362) organized, and when it’s regenerated.
The objects that you bring in from linked files
Scale Synchronization behave just like any other object created in
Autodesk VIZ. You can scale, rotate, and move
Autodesk VIZ automatically manages the scale them, as well as attach modifiers and materials.
conversion on linked geometry and materials.
Autodesk VIZ has its own system unit for internal You can also refresh or break links to linked files.
representation of geometrical scale. When you refresh a linked file, any changes you’ve
made to the linked file are applied to geometry
If you find that any geometry is not shown at in your scene. Note, however, that Autodesk VIZ
the size you intended it to be, it is because it was won’t edit or change your original linked file. The
created at the improper scale in the originating integrity of your other software’s design database
program. is never compromised with the File Link Manager.
Finally, if you decide to break a link to a linked file, have to tell the File Link Manager where to find
you can either keep the objects from the linked file the drawing.
in your scene or have them removed along with Note: If your Revit project has been updated,
the link. remember to export a new DWG file that can be
reloaded.
See also
1. On the Files panel of the File link Manager,
File Link Basics (page 3–318) click the file name in the Linked Files list and
File Link Tips (page 3–319) click Reload.
Linked files that have been changed are prefaced
Working with AutoCAD, Architectural Desktop,
and Revit Files (page 3–339) with the symbol.
Tip: Turn on the Show Reload Options switch
Procedures if you want to make changes to the settings
To link a drawing file: used to link the drawing. Otherwise, the reload
process will use the same settings you originally
You can link drawings in the form of DWG or DXF
used when creating the link.
files. A DWG is the native file format for AutoCAD
and Architectural Desktop, but you must first 2. If Show Reload Options is turned on, the File
export a DWG when working from a Revit project. Link Settings dialog (page 3–327) is displayed
The File Link Manager does not recognize RVT where you can change your settings in the Basic
files. and Advanced panels.
1. Choose File menu > File Link Manager. Note: You cannot change the sorting or layer
options when reloading a drawing.
2. On the Attach panel, click Files to select a file
from the appropriate directory on either your 3. Click OK to reload the file.
local or network system, and click Open.
Interface
3. Choose a Preset from the pull-down list, if you
have one defined. The File Link Manager dialog contains three
Tip: If this is your first File Linking, and you
panels for listing linked files:
have not defined any presets, you may want to • Attach (page 3–325)
create one on the Presets panel (page 3–335) • Files (page 3–325)
of the dialog.
• Presets (page 3–326)
4. Turn on the Rescale switch and adjust the
Incoming File Units, if necessary. These panels let you attach files, update
attachments and settings, and change presets used
5. Click Attach This File.
by File Link. The terminology is similar to the
terminology for managing AutoCAD external
To reload a drawing:
references, or xrefs (page 3–749).
Reload is most often used when your
Note: An xref is an AutoCAD external reference.
drawing or project has been changed in
This is different from a Autodesk VIZ Xref (page
AutoCAD, Architectural Desktop, or Revit, or if
the linked drawing file has been moved and you
3–749), which is an externally referenced file that
can be a Autodesk VIZ object or scene.
File Link Manager Utility 325
Attach panel When Rescale is on, and the units you specify
are different from the system units currently set
in the Autodesk VIZ scene, the incoming objects
are scaled appropriately. For example, if a door
measures 914 units in the linked file, and you
specify millimeters to convert from, the door will
measure 36 inches in the Autodesk VIZ scene.
Note: You can’t change units when you reload a
linked file.
Note: By default, system units are inches in
Autodesk VIZ. Consider carefully before changing
the default system units. For more information,
see Using Units (page 2–618).
Incoming File Units—Displays the unit of measure
File—Displays an Open dialog that you can use found in the original drawing file and lists the units
the browse for DWG and DXF files that you want to which you can choose to rescale the attached
to link. When a file is selected, its path and name file. This is only active when Rescale is on.
appears in the File list. Select Layers to Include—Displays the Select Layers
File list—The file to be attached to your scene. You dialog (page 3–337), which you use to select the
can enter the file location, or you can expand the layers to import from the linked file.
list to display a history of the last ten attached files. Attach This File—Attaches the selected file to your
Note: You can resize the File Link Manager dialog scene, using the settings selected in the Preset list,
by dragging any corner or edge. This is useful for if one was selected.
viewing a file path if it’s too long to fit in the file
Close—Cancels all changes to settings and closes
list field.
the dialog.
Preset—Displays a list of preset settings you can
choose to use when attaching the file. Each list Files panel
entry in this list represents a unique collection
of attach and reload settings. You can create
additional presets in the Presets panel of the File
Link Manager dialog.
Rescale—Alters the scale of the geometry from a
linked file to match the system unit scale (page
3–582) in Autodesk VIZ. When Rescale is on, you
can specify what the base units should be for the
geometry in the linked file. For example, if the
length of a line in the linked file is 2 units, you can
specify that these units be considered as any of
the units listed under File Units (below), such as
inches, millimeters, or parsecs.
Linked Files—Lists linked files. The File Link When you click this button, you receive a warning
Manager displays an icon next to the path name of that you’re about to remove all objects associated
each linked file. The icon reflects the status of the with the linked file. You can either proceed or
linked file, as described below: cancel the operation.
Note: This option is available only when the file is
The linked file hasn’t changed and there are no
errors. highlighted in the Linked Files list.
Bind—Removes the link to the file. The geometry
The linked file can’t be found at the specified
location. in the scene remains unchanged, but it’s no longer
linked back to the original file and, if the original
The linked file has changed or another file has file changes, it can’t be updated using Reload.
been selected by changing the path or using the
When you click this button, you receive a warning
browser from this list. If you want to update your
that you’re about to break the link between the
scene with the changes in this file, you must reload
objects in the current Autodesk VIZ scene and
your link.
the file.
You can change the path name by highlighting it
and clicking again to enter its location. This also
highlighted in the Linked Files list.
displays a file browser button to the right of the
file name that you can use to locate a file. If the Show Reload Options—Displays the File Link
directory of a linked file is no longer valid, then Settings dialog (page 3–327) when you click
you must enter a new, valid path name. Reload, and uses these settings for reloading.
When you turn off this option, the File Link
Reload—Refreshes the link between the file and the
Manager uses the reload settings stored in the
Autodesk VIZ session. This feature is useful when
current scene.
the file has been modified and you want to see the
changes reflected in your Autodesk VIZ scene. If Close—Cancels all changes to settings and closes
you turn on Show Reload Options, the File Link the dialog.
Settings dialog (page 3–327) displays when you
click this button. Presets panel
Changes that have been made to the base file

will be applied to the objects at the bottom of
the Autodesk VIZ modifier stack. If you have
Autodesk VIZ materials applied to walls in a floor
plan in your scene, the same materials are applied
to the walls when you reload an updated version of
the linked file.
highlighted in the Linked Files list.
Detach—Removes an existing link to a file. Detach
also removes all geometry associated with or
dependent on the link.
File Link Settings Dialog 327
Named Presets—Lists all existing presets. • View and exclude layers in a linked file.
Modify—Opens the File Link Settings dialog (page • Control how geometry is converted.
3–327), letting you change the settings of the • Define how linked objects are converted to
selected preset. Autodesk VIZ objects, referred to as VIZBlocks.
New—Opens the New Settings Preset dialog (page The selections you make in the File Link Settings
3–335), creating a new preset with default settings. dialog can affect the amount of memory used
Note: New is only available when no preset is by Autodesk VIZ to hold the linked data. Use
selected in the list. If a preset is selected, this the Select Layers To Include option to reduce the
button changes to Copy. amount of information added to your scene.
Copy—Opens the New Settings Preset dialog In some cases, it might be more efficient to create
(page 3–335), creating a new preset with the same multiple links to the same file, making different
settings as the currently selected preset. file link settings for each file.
Note: Copy is only available when a preset is
See also
selected in the list. If no preset is selected, this
button changes to New. File Link Tips (page 3–319)
Rename—Opens the Rename Settings Preset dialog
(page 3–336), letting you change the name of the
Basic File Link Settings
selected preset.
File menu > File Link Manager > Reload a linked file with
Delete—Deletes the selected preset. Show Reload turned on. > File Link Settings dialog >
Basic panel
Close—Cancels all changes to settings and closes
the dialog. File menu > File Link Manager > Presets panel > Select
an existing preset and click Modify. > File Link Settings
dialog > Basic panel
File menu > File Link Manager > Presets panel > Create a
File Link Settings Dialog new preset. > Select the newly created preset and click
Modify > File Link Settings dialog > Basic panel
File menu > File Link Manager > Files tab > Turn on Show
Reload Options. > Click Reload. Utilities panel > Utilities rollout > File Link Manager >
Reload a linked file with Show Reload turned on. > File
Utilities panel > Utilities rollout > File Link Manager > Files Link Settings dialog > Basic panel
tab > Turn on Show Reload Options. > Click Reload.
Utilities panel > Utilities rollout > File Link Manager >
Presets panel > Highlight an existing preset and click
The File Link Settings dialog gives you control Modify. > File Link Settings dialog > Basic panel
over the detailed aspects of how geometry is
translated from DWG or DXF files and interpreted Presets panel > Create a new preset. > Highlight the
in Autodesk VIZ. It also allows you to control newly created preset and click Modify > File Link Settings
dialog > Basic panel
whether only a portion of the Autodesk VIZ
objects will be affected by subsequent reloading. The Basic panel of the File Link Settings dialog
The File Link Settings dialog is displayed when (page 3–327) defines how Autodesk VIZ converts
Show Reload Options is turned on in the File Link the linked file’s objects into corresponding
Manager dialog, or when editing a file link Preset. Autodesk VIZ objects.
The File Link Settings dialog lets you:
Interface Unify Normals—Analyzes the face normals of each

object and flips normals where necessary, so they
all point in a direction that is consistent with
adjoining faces. If the imported geometry isn’t
properly welded, or if the AutoCAD geometry
did not contain or specify normal information,
normals might be oriented in the wrong direction.
Use the Edit Mesh (page 2–74) or Normal (page
2–167)modifiers to flip normals.
When Unify Normals is off, normals are calculated
according to the face vertex order in the linked
file. Face normals for AutoCAD solids are already
unified. Turn off Unify Normals when importing
only AutoCAD solid models from Architectural
Desktop.
Cap Closed Objects—Applies an Extrude modifier
(page 2–127) to all closed objects, and selects the
Cap Start and Cap End options of the modifier.
The Extrude modifier Amount value for a closed
Weld—Sets whether to weld nearby vertices of object with no thickness is set to 0. Capping makes
converted objects according to the Weld Threshold closed objects with thickness appear solid and
setting. Welding smooths across seams and closed objects without thickness appear flat. When
unifies normals of objects with coincident vertices. Cap Closed Objects is off, the Extrude modifier
Welding occurs only on vertices that are part of Cap Start and Cap End options for closed objects
the same object. with thickness are clear. No modifiers are applied
to closed objects without thickness.
Weld Threshold—Sets the distance that determines
whether vertices are coincident. If the distance Tip: Unless you chose the One-to-One sorting
between two vertices is less than or equal to the option, you won’t immediately see the Extrude
weld threshold, the vertices are welded together. modifier when selecting an object. To see it, look
To use the Weld Threshold, turn on Weld. through the modifier stack for the VIZBlock (page
3–745) sub-objects. In a nested VIZBlock, the
Auto-Smooth—Assigns smoothing groups
Extrude modifiers appear at the bottom of the
according to the Smooth Angle value. Smoothing
stack. You can then edit the Extrude modifier
groups determine whether faces on an object
parameters.
their edges, creating a faceted appearance. Texture Mapping—The texture mapping setting
can reduce the loading time of models that have
many objects with stored UVW Coordinates for
occurs between two adjacent faces. If the angle
texture mapped materials.
between the two face normals is less than or equal
to the smooth angle, the faces are smoothed (that Note: This setting applies only to geometry that
is, put in the same smoothing group). is stored as a mesh in the scene. Spline shapes
marked as renderable have separate controls for
Basic File Link Settings 329
UVW coordinate generation; these are found on Surface Deviation for 3D Solids—Specifies
the Spline Rendering panel (page 3–333). the maximum allowable distance from the
• Generate Coordinates For All Autodesk VIZ surface mesh to the parametric
Objects—Automatically generates UVW AutoCAD solid surface. Small numbers produce
coordinates for all objects when the drawing more accurate surfaces with a greater number
is linked. of faces. Large numbers produce less accurate
surfaces with fewer faces.
This option tells the File Link Manager to
create UVW coordinates, but loading time Include group
is increased while the coordinate generation
occurs. This group allows you to toggle the inclusion of
specific parts of a DWG file during the file link
• Generate Coordinates On Demand—Does not process.
generate texture coordinates for linked mesh
objects. External references—Imports xrefs attached to the
DWG file.
Actively linked objects generate UVW
coordinates on demand, so if you assign a Hatches—Imports hatches from the DWG file.
material to an object and the material requires
Warning: This stores each line or dot in the hatch
texture coordinates, the texture coordinates are
pattern as a separate spline that defines the hatch; this
silently assigned to that object. If the material can create a very large number of objects in your scene.
or texture map is set to display in viewport, the
coordinates are assigned as soon as the material Points—Imports points from the DWG file.
is applied; if not, the coordinates are assigned Note: The imported point objects are represented
when the scene is rendered. in Autodesk VIZ as Point Helper (page 2–638)
This option gives you faster loading speed, but objects.
no UVW coordinate generation. Lights—Imports lights from the DWG file.
Note: Objects in drawings created in
Views (cameras)—Imports named views from the
Architectural Desktop pass texture coordinates
DWG file, and converts them to Autodesk VIZ
explicitly to Autodesk VIZ when you attach
cameras.
the drawing. If you specify on-demand
coordinate generation, they might not match UCSs (grids)—Imports user coordinate systems
the coordinates that were specified in the (UCS) from the DWG file and converts them to
original drawing. The map scaling is the same, Autodesk VIZ grid objects.
but the texture offsets may be altered.
Curve Steps—For objects such as splines, the
number of knot points determines the spline’s
shape and curvature. The Curve steps value
defines the number of segments between knot
points. A low value gives you a more linear
interpolation between the knot points; a higher
number gives you a more accurate curve.
Interface
Advanced File Link Settings
File menu > File Link Manager > Reload a linked file with
Show Reload turned on. > File Link Settings dialog >
Advanced panel
File menu > File Link Manager > Presets panel > Select
dialog > Advanced panel
new preset. > Select the newly created preset and click
Modify > File Link Settings dialog > Advanced panel
Link Settings dialog > Advanced panel
Modify. > File Link Settings dialog > Advanced panel
Presets panel > Create a new preset. > Highlight the
newly created preset and click Modify > File Link Settings
dialog > Advanced panel
The Advanced panel of the File Link Settings dialog Derive AutoCAD primitives by:—Lists the options
(page 3–327) controls how the software derives for deriving objects from the linked DWG file.
AutoCAD primitives and whether Autodesk VIZ This setting is available only when modifying a
uses the scene material definitions when linking to preset (page 3–336).
or reloading the AutoCAD drawing. It also lets you Note: This applies only to standard AutoCAD
selectively reload your scene, so that you reload primitives. Specialized objects, such as those from
only specific objects, not the entire file. Autodesk Architectural Desktop, are handled
differently.
Tip: For best results, use the Layer, Blocks as Node
Hierarchy or Entity, Blocks as Node Hierarchy
options, except in special circumstances.
There are six options to choose from:
• Layer, Blocks as Node Hierarchy—Linked objects
on a given layer in the AutoCAD drawing that
aren’t in blocks are combined into a single
Editable Mesh or Editable Spline object in
Autodesk VIZ. The name of each linked
object is based on the AutoCAD object’s
layer. The linked object name has a “Layer:”
prefix and is followed by the layer name. For
example, all AutoCAD objects residing on the
layer Walls become part of the Editable Mesh
Advanced File Link Settings 331
named Layer:Walls after they are linked in members at once. For example, in a scene
Autodesk VIZ. containing a conference table with six chairs
Each block is linked separately as a hierarchy, around it, you could move all of the chairs
with the block itself as the parent object and simultaneously by moving a single chair.
its constituent parts as child objects. The child Another advantage is that all geometry is
objects of the block are combined by layer. instanced, so edited UVs and normals and
Tip: This is usually the best option for file other modifications need be done only once.
linking. It preserves all ADT information, and Note: This derivation method might cause
generally maintains the same granularity as you unreliable material propagation when
would expect in AutoCAD. importing drawings containing dynamic
• Layer, Blocks as Node Hierarchy, Split blocks. Materials might propagate to some
by Material—This works the same as the block instances and not to others.
Layer, Blocks as Node Hierarchy option, Warning: This option has the potential to create an
with the following additional functionality: enormous number of objects in your scene.
Combination of non-block objects takes place
• Layer—Linked objects are combined in
first by layer, and then by material.
Autodesk VIZ according to their layer. Objects
For example, take an AutoCAD file with six in each of the associated application’s layers are
objects in layer A: three have a Brick material combined into one object, with the exception
and three have a Stone material. Using this of blocks, each of which is represented as an
option, this file would be linked to in the form individual VIZBlock (not a hierarchy). Multiple
of two objects, or nodes, one containing the inserts of the same block are represented using
Brick material and the other with the Stone instances in the scene. Material assignments are
material. lost but material IDs are preserved.
Each block is linked to separately as a hierarchy, • Color—Linked AutoCAD objects are combined
with the block itself as the parent object and in Autodesk VIZ according to their color.
its constituent parts as child objects. The child All objects of the same color are combined
objects of the block are combined by layer. into one object, with the exception of blocks,
• Entity, Blocks as Node Hierarchy—Every linked each of which is represented as an individual
object not in a block is represented as a separate VIZBlock (not a hierarchy). Multiple inserts of
object in the Autodesk VIZ scene, without the same block are represented using instances
regard to layers. The nodes are then placed on in the scene. Material assignments are lost but
scene layers that correspond to the drawing material IDs are preserved.
layers. Each block is imported separately as a Note: Blocks can contain objects with different
hierarchy, with the block itself as the parent colors. However, when sorting, Autodesk VIZ
object and its constituent parts as child objects. considers only the color of the block itself.
The child objects of the block are combined by Also, Autodesk VIZ objects can only display
layer. one color, unless a material is applied.
One benefit of this option is that you can • Entity—Provides a one-to-one correspondence
apply instanced animation controllers (page between AutoCAD objects and Autodesk VIZ
2–685) to block subcomponents and thus, by objects. For each linked object or block in the
transforming a single member, transform all imported file, the File Link Manager creates an
independent object or VIZBlock, respectively, This setting is available only when modifying a
in the scene. Material assignments are lost but preset (page 3–336), and not using the Derive
material IDs are preserved. option Layer, Blocks as Node Hierarchy.
Warning: This option has the potential to create an Create One Scene Object for Each ADT
enormous number of objects in your scene. Object—Architectural Desktop (ADT)
Note: When working with drawings exported objects are linked as a single object instead of being
from Revit, it is recommended that you do not separated into their constituent components. This
use this setting. means that if you link an ADT door object, the
door is represented as one object instead of three.
• One Object—All linked objects are combined
Turning on this switch make linking faster and the
into a single VIZBlock. Material assignments
scene size is smaller.
are lost but material IDs are preserved.
This setting is available only when modifying a
Select Layers to Include—Displays the Select Layers
preset (page 3–336).
dialog (page 3–337), which you use to choose
layers to import from the linked file. Available only Note: This switch presents several modeling
when reloading a linked file. concerns that you need to be aware of.
Tip: Excluding unnecessary objects from linking • Material assignments from ADT are not
can improve the performance of the reload translated during the file link process. However,
operation. while the objects themselves do not have
materials assigned, the materials are imported
Create Helper at Drawing Origin—When on, and placed on the Scene Unused palette (page
Autodesk VIZ inserts the user coordinate system 3–407).
icon as an origin point helper. Autodesk VIZ
• If you want to assign materials to these objects,
places this helper at the world origin of the linked
use Multi/Sub-Object materials.
file. It’s a reference point for all the geometry of the
linked file. After attaching, the helper is selected, • Depending on the Texture Mapping option
allowing you to easily move, rotate, or scale all the you choose, UVW coordinates are translated
geometry that was just added to the scene. Each correctly.
linked file gets a unique helper object.
Use Scene Material Definitions—When on,
This setting is available only when modifying a Autodesk VIZ checks the current scene for any
preset (page 3–336). currently used materials with the exact same name
as a material name in the linked DWG file. If a
Use Extrude Modifier to Represent Thickness—When
match is found, File Link does not translate the
on, linked objects with thickness receive an
drawing’s material, but instead uses the material
Extrude modifier to represent the thickness value.
defined in the scene.
You can then access the parameters of this modifier
and change the height segments, capping options, When off, the File Link Manager always uses the
and height value. material definitions contained in the DWG file,
and will overwrite scene materials with the same
When off, objects with thickness (and closed
name, regardless of which objects the material is
capped objects) are converted directly to a mesh.
applied to. All material definitions stored in the
DWG file are reloaded (even when using a selective
reload). If you make changes to a linked material,
Spline Rendering File Link Settings 333
in Autodesk VIZ, then reload, those changes will you click Linked Objects, the Select Linked Object
be lost (if the switch is off). dialog (page 3–338) is displayed.
Tip: When reloading a file, most of the materials
from the DWG file will have already been created
in the scene by Autodesk VIZ; they may not need Spline Rendering File Link Settings
to be re-translated. If you want to update a scene File menu > File Link Manager > Reload a linked file with
material with the definition contained in the Show Reload turned on. > File Link Settings dialog >
drawing, turn this switch off.
Note: Material assignments can only be transferred File menu > File Link Manager > Presets panel > Select
from Autodesk Architectural Desktop files and dialog > Spline Rendering panel
drawings exported from Revit.
Note: Material name comparison is case-sensitive. new preset. > Select the newly created preset and click
Modify > File Link Settings dialog > Spline Rendering
panel
Use Scene Material Assignments on Reload—When
on, linked objects with a material already assigned Utilities panel > Utilities rollout > File Link Manager >
to them in the Autodesk VIZ scene will not Link Settings dialog > Spline Rendering panel
have that material assignment changed. This is
the case regardless of whether the material was Utilities panel > Utilities rollout > File Link Manager >
assigned automatically by the File Link Manager Modify. > File Link Settings dialog > Spline Rendering
panel
or manually by the user.
When off, linked objects have their material Presets panel > Create a new preset. > Highlight the
assignment “coordinated” with the drawing, so newly created preset and click Modify > File Link Settings
dialog > Spline Rendering panel
that the two are in sync.
Note: Material assignments can only be transferred The Spline Rendering panel of the File Link
from Autodesk Architectural Desktop files. Settings dialog (page 3–327) controls how shapes
Selective Reload—Lets you perform a partial reload will appear in the scene once the DWG or DXF file
of your linked file. Use a partial reload when you is linked. You can control the appearance of the
know what has changed in the linked file, and shape, its smoothing, mapping coordinates and
want to speed up the time it takes to reload the if they can be rendered.
geometry.
The following options are available:
• Selected in Scene—Reloads only the objects
currently selected in your scene.
• Selected in List—Reloads only the objects that
you choose from a named list. This list is
defined by clicking Linked Objects.
Linked Objects—Allows you to reload only objects
that you choose from a named list. The list is
created from the objects linked in the file. When
Interface Autodesk VIZ generates the mapping coordinates

(page 2–1036).
by the Use Real-World Scale settings found in
the applied material’s Coordinates rollout (page
2–1199). Default=on.
Auto Smooth—If Auto Smooth is turned on, the
spline is auto-smoothed using the threshold
specified by the Threshold setting below it. Auto
Smooth sets the smoothing based on the angle
between spline segments. Any two adjacent
The controls on this panel are identical in name segments are put in the same smoothing group if
and operation to those found on the Rendering the angle between them is less than the threshold
rollout (page 1–239) for splines. The values of angle.
these settings are set for all imported shapes. Once
Threshold—Specifies the threshold angle in
the import is complete, you can change the settings
degrees. Any two adjacent spline segments are put
as necessary for each object.
in the same smoothing group if the angle between
Enable in Renderer—When on, the shape is them is less than the threshold angle.
rendered as a 3D mesh using the Radial or
Viewport—Turn this on to specify Radial or
Rectangular parameters set for Renderer. In
previous versions of the program, the Renderable
display in the viewport when Enable in Viewport
switch performed the same operation.
is turned on.
Enable in V iewport—When on, the shape is
Renderer—Turn this on to specify Radial or
displayed in the viewport as a 3D mesh using the
Radial or Rectangular parameters set for Renderer.
display when rendered or viewed in the viewport
In previous versions of the program, the Display
Render Mesh performed the same operation.
Radial—Displays the 3D mesh as a cylindrical
Use V iewport settings—Lets you set different
object.
rendering parameters, and displays the mesh
generated by the Viewport settings. Available only Thickness—Specifies the diameter of the viewport
when Enable In Viewport is on. or rendered spline mesh. Default=1.0. Range=0.0
to 100,000,000.0.
New Settings Preset Dialog 335
New Settings Preset Dialog

File menu > File Link Manager > Presets panel > Copy
or New
Presets panel > Copy or New
The New Settings Preset dialog creates a new

preset in the File Link Manager (page 3–323). The
Splines rendered at thickness of 1.0 and 5.0, respectively settings of the new preset either use default values
(if you clicked New), or they inherit the values of a
Sides—Sets the number of sides (or facets) for selected preset (if you clicked Copy).
the spline mesh n the viewport or renderer.
For example, a value of 4 results in a square After creating the preset, you can change its
cross-section. settings by clicking Modify.
Angle—Adjusts the rotational position of the Procedures

cross-section in the viewport or renderer. For
To create a new preset:
example, if the spline mesh has a square cross
section you can use Angle to position a "flat" side 1. On the Presets panel of the File Link Manager,
down. click New.
Rectangular—Displays the spline’s mesh shape as Note: New is available only if no named presets
a rectangle. are highlighted.
2. On the New Settings Preset dialog, enter a name
Length—Specifies the size of the cross–section
for your preset, and click OK.
along the local Y axis.
A new preset is created with default settings.
Width—Specifies the size of the cross–section
along the local X axis. To copy a preset:
Angle—Adjusts the rotational position of the 1. On the Presets panel of the File Link Manager,
cross-section in the viewport or renderer. For choose a named preset.
example, if you have a square cross-section you
2. Click Copy.
can use Angle to position a "flat" side down.
Note: Copy is available only if a named preset is
Aspect—Sets the aspect ratio for rectangular highlighted.
cross-sections. The Lock check box lets you lock
3. In the New Settings Preset dialog, rename the
the aspect ratio. When Lock is turned on, Width is
preset, and click OK.
locked to Length that results in a constant ratio of
Width to Length. A new preset is created with the same settings
as the selected preset.
Note: If you do not rename the preset, it will
cancel the command.
Interface
Preset Editing
File menu > File Link Manager > Presets panel > Click a
preset > Modify
Presets panel > Click a preset > Modify
After you’ve created a preset, you can use this

function to adjust its settings. For instance, you
New Name—The name of your preset.
might want to make sure Weld is on, or perhaps to
Format—The file type for the preset. include lights or views (cameras).
Procedures
Rename Settings Preset Dialog To edit or modify a preset:
File menu > File Link Manager > Presets panel > Click a 1. On the Presets panel of the File Link Manager,
preset > Rename
choose a named preset.
Utilities panel > Utilities rollout > File Link Manager > 2. Click Modify.
Presets panel > Click a preset > Rename
The File Link Settings dialog (page 3–327) is
The Rename Settings Preset dialog lets you rename displayed.
your preset. 3. From the Basic, Advanced and Spline
Note: You cannot use names beginning with Rendering panels, make the settings you want
’Preset’, so names like “Preset 1” or “Preset with associated with the preset and click Save.
Welding” are not allowed.
Interface Differences Between Layers

and Blocks in AutoCAD and
Autodesk VIZ
AutoCAD has special handling for objects in the
block definition that are associated with layer 0.
When a block contains objects on layer 0, and
those objects have a color property of "ByLayer" or
"ByBlock", the color of the object is determined
either by the color of the block or by the layer
New Name—The name of your preset.
assigned to the block reference (page 3–661) in
Format—The file type for the preset. AutoCAD. When blocks are nested, this color
Note: By default, presets can be created only for system can get complex.
AutoCAD file types (DWG, DXF). Other file types
might be available, depending on the third-party
plug-ins you have installed.
Select Layers Dialog 337
Select from list—Lets you select individual active

Select Layers Dialog layers to include/exclude. A check mark beside the
layer name indicates the layer is selected.
File menu > File Link Manager > Files panel > Reload
button > File Link Settings dialog > Advanced panel >
Select Layers to Include button All—Includes all layers in the linked file by
selecting all of them. You can then deselect just the
Utilities panel > Utilities rollout > File Link Manager > layers you want to exclude.
Files panel > Reload button > File Link Settings dialog >
Advanced panel > Select Layers to Include button
None—Excludes all layers in the linked file by
deselecting all of them. You can then select just the
This dialog lets you toggle a layer’s include/exclude
layers you want to include from importing.
status and choose other options, as described in
this topic. Invert—Reverses the current selection of layers in
Note: You toggle the include/exclude status of a
the linked file.
layer by clicking anywhere on a row in the list of
layers. The dialog lists included layers with a check
mark to the left of the layer name. This list of Resolve External Reference File
included layers is retained for subsequent reloads Dialog
of the linked file. For informational purposes, The Resolve External Reference File dialog is
the property icons display the state of the layers’ displayed when Autodesk VIZ can’t find the
properties, but you can’t change their status in this externally referenced files it needs in an attached
dialog. DWG file.
See also See also

Layer Properties Dialog (page 3–369) File Link Tips (page 3–319)
Interface Interface
Xref Stored File Name—Displays the xref path
Skip all frozen layers—Excludes all layers frozen in

stored in the attached drawing.
the linked file. All active files are included. Referenced by—Displays the path of the attached
drawing.
As Block Name—Displays the name of the block

reference in the attached drawing. The block name Select Linked Objects Dialog
is usually the same as the xref name, but it can be
File menu > File Link Manager > Files panel > Select file
different. to reload. > Reload button > File Link Settings dialog >
Advanced panel > Turn on Selective Reload. > Linked
File Name for File Link—When Autodesk VIZ can’t Objects
locate the linked file, use this field to enter another Utilities panel > Utilities rollout > File Link Manager > Files
path and file name. Autodesk VIZ verifies that the panel > Select file to reload. > Reload button > File Link
Settings dialog > Advanced panel > Turn on Selective
file exists at that location and reports its status in Reload. > Linked Objects
the lower left of the dialog.
Browse—Lets you use the file system to find The Select Linked Objects dialog displays the
another file for the link. Choosing a file this way linked objects associated with the selected linked
enters file path and name in the File Name For File file, including VIZBlocks (page 3–745), lights, and
Link field. cameras. You use this dialog when reloading a
linked file so that you can include/exclude specific
All Xref Files group objects from the reloading process. You might
want to do this in order to reload only the objects
Controls whether and how Autodesk VIZ resolves
which have changed.
xrefs.
Prompt Only if File Cannot be Found—Searches for Interface
the externally referenced file and all unresolved
xrefs in the attached drawing by using the stored
file name in the locations listed in this dialog and
in the order they appear.
Do Not Resolve any Xrefs—Doesn’t resolve this
externally referenced file or any other unresolved
xrefs in the attached drawing. However, any xrefs
resolved before you turn on Do Not Resolve Any
Xrefs will still be resolved.
OK—Resolves this externally referenced file.
Don’t Resolve This File—Doesn’t resolve this

externally referenced file, but will prompt for any
List of Objects—Lists the VIZBlocks, cameras, and
other xrefs to resolve.
lights associated with the selected linked file. A
check mark beside the object name indicates the
object is selected; an X mark indicates the object
is deselected.
All—Selects all linked objects in the linked file.
You can then deselect specific linked objects by
clicking their rows.
Working with AutoCAD, Architectural Desktop, and Revit Files 339
None—Deselects all linked objects in the linked

file. You can then select specific linked objects by
clicking their rows.
Invert—Reverses the current selection of linked
objects in the linked file.
Working with AutoCAD,

Architectural Desktop and
Revit Files Using the File Link Manager (page 3–323),
Autodesk VIZ maintains a live data link to
AutoCAD, Architectural Desktop, or drawings
Working with AutoCAD, exported from Revit that allows you to use the
Architectural Desktop, and linked object data in your Autodesk VIZ scene.
Revit Files You can perform various operations on this linked
data in Autodesk VIZ for visualization purposes,
Autodesk VIZ produces rich visualizations based
but nothing you do in Autodesk VIZ will change
on your drawing design data. In order to produce
the base data you see in the source application. The
high-quality visualizations, you need to add
data link allows you to periodically refresh your
and adjust many design variables that affect the
Autodesk VIZ scene with revised drawing data.
visual impact of your design, but don’t really
belong in your core AutoCAD, Architectural If a live data link is not important to you, the
Desktop, or Revit data. You may want to test DWG/DXF Import functionality processes
your design under different lighting conditions, drawings, exported from Revit, in the same
experiment with different texture and material intelligent way as the File Link Manager. You just
effects, animate components, or move through a don’t have the benefit of the live data link.
space. Autodesk VIZ allows you to enhance your
design with this “extra” data while maintaining See also
the integrity of the underlying AutoCAD, Using Layers to Organize a Scene (page 3–362)
Architectural Desktop, or Revit design.
File Link Basics (page 3–318)
Interpreting Layer Data from AutoCAD,
Architectural Desktop, or Revit (page 3–322)
As with AutoCAD objects, linked AutoCAD

AutoCAD Geometry in blocks, of any type, and externally referenced
drawings appear in Autodesk VIZ as objects
Autodesk VIZ hierarchically grouped below a VIZBlock to reflect
The basis of your model in Autodesk VIZ is the structure of the block or xref in AutoCAD.
the geometry of the objects, blocks, and other When non-nested blocks, of any type, are
entities that are transferred through the file linking linked to a scene, the naming for the incoming
functionality. In many cases, these objects behave block instances are based on the original block
just like the editable meshes and splines you create definition in the form of Block: block_name
in Autodesk VIZ. But because the link to the where block_name is the actual name of the block
source drawing plays such a central role in your definition. For example, if you link a drawing
workflow, Autodesk VIZ has special rules and containing a series of blocks named office chair,
tools for handling linked AutoCAD geometry. their name will show as Block: office chair in
When you are working with linked objects and Autodesk VIZ.
blocks from AutoCAD, you will find that these Nested blocks in AutoCAD will be analogously
are composed as groups of related objects in nested in Autodesk VIZ under nested VIZBlocks.
Autodesk VIZ. These groups are organized The grouping and naming follows the parent-child
hierarchically below a Autodesk VIZ VIZBlock structure of xref drawing name:block name:nested
object. VIZBlocks are special objects created block name:entity.
by the file linking functionality that are used
Note: Entities that lie on layer 0 of an AutoCAD
to contain other file linked objects in a group.
block definition will appear as Layer:0 in
VIZBlocks don’t contain any geometry directly, so
Autodesk VIZ, even though they may appear to
for example it is meaningless to apply modifiers to
reside on a different layer when they are inserted
them. However, they do reference the components
in AutoCAD.
below them so that transforms applied to a
VIZBlock will be applied to all the component With linked Architectural Desktop objects,
objects it contains. material assignments to linked AutoCAD blocks
can propagate automatically to all other instances
See also of those block components in the Autodesk VIZ
Styles (page 3–360) scene, depending on how Propagate Materials
To Instances (page 3–355) is set. Modifiers
Instanced Objects (page 3–356) applied to block components, however, propagate
Blocks (page 3–357) automatically to all other block instances,
regardless of how the Auto Material Propagation
toggle (page 3–355) is set.
AutoCAD Entities and Blocks in If you transform (move, rotate, or scale) the
Autodesk VIZ top-level VIZBlock that contains a block
reference, all the components of that block will be
AutoCAD blocks in Autodesk VIZ are treated
transformed together and no other VIZBlocks will
similarly to AutoCAD objects, though the rules for
be affected. If, however, you transform a block
propagation of transforms are slightly different to
mirror the behavior of blocks in AutoCAD.
component, including a nested VIZBlock, that
transformation will automatically propagate to all
Resetting Transforms on Linked AutoCAD Objects 341
other instances of that block in the scene. This 2. On the Command panel, click the Modify tab
mirrors the behavior of blocks in AutoCAD when to display the Modify panel.
reference-editing a block definition. The name of the linked object appears at the
top of the Modify panel, and the modifiers
See also that have been added to the object (if any) are
Blocks (page 3–357) shown on the modifier stack.
3. At the bottom of the list of applied modifiers,
click either Linked Geometry, VIZBlock, or
Resetting Transforms on Linked Block/Style Parent, whichever appears, if it is
AutoCAD Objects not already highlighted.
Select a linked AutoCAD object. > Modify panel > Linked A Linked Geometry rollout appears at the
Geometry rollout > Reset Position bottom of the Modify panel.
4. Click the Reset Position button
You can move, rotate, or scale linked
AutoCAD objects in Autodesk VIZ, and these The linked object reverts back to its original
transformations will remain intact even after the location, rotation, and scale in the linked
linked AutoCAD drawing has been reloaded. But AutoCAD drawing.
you can choose to eliminate the transforms on an Note: When Reset Position is applied to a linked
object-by-object basis using the Reset Position object that has been animated (in other words,
function, available on the Modifier panel. has transform keys for different frames) only the
Note: The Reset Position functionality is only transform for frame 0 is reset.
available for linked files. It is not available when
you Import a DWG file, or when you have bound a See also
linked file. File Link Basics (page 3–318)
Every linked AutoCAD object and component
has a Reset Position function associated with Interface
it. Clicking this button automatically resets all
transformations that have been applied to this
object or component in Autodesk VIZ, so that the
component resumes the location, rotation, and
scale it held in the linked AutoCAD drawing when
it was last reloaded. Reset Position—Resets the selected object’s
transforms to those of the original AutoCAD
Warning: Transforms applied to block components object when the drawing was last reloaded.
are applied to all instances of that component in all
other linked block insertions in the Autodesk VIZ scene.
Resetting the transformation of any instance will reset
Restrictions on Editing AutoCAD
all of them.
Geometry
To reset the transforms applied to a linked AutoCAD Many operations that are allowed on mesh,
object: spline, or shape objects in Autodesk VIZ are not
1. Select a linked object in your scene.
allowed on linked AutoCAD geometry, and other When you use modifiers on linked AutoCAD
operations behave differently. objects and blocks, remember that the VIZBlock
object you see in Autodesk VIZ does not contain
The following operations are not allowed on linked
any geometry directly; applying modifiers to
geometry:
VIZBlocks will never have any visible effect.
• Deletion Instead, apply modifiers to the component objects
• Altering the parent-child hierarchy below the VIZBlock in the Autodesk VIZ object
hierarchy.
• Collapsing the linked geometry into an editable
mesh or an editable spline
Copying Actively Linked Objects
If you must perform any of these operations, you
You can copy actively linked objects in
must either do them in AutoCAD or else bind the
Autodesk VIZ; the copies are automatically
drawing data to Autodesk VIZ, which breaks the
converted to editable mesh objects. If your
link back to AutoCAD.
selection contains several objects that instance
another object, the resulting copies also instance
Applying Modifiers to Linked AutoCAD
the same object.
Geometry
However, it is recommended that you do not
You can apply modifiers to linked AutoCAD
instance or reference actively linked objects, as this
geometry and these modifiers will persist when
can introduce instability to the scene.
you reload the geometry. This can be a very
powerful way to intelligently manage your design
intent, but it can also lead to some unexpected
See also
results, especially when using topology-dependent Using Modifiers (page 2–23)
modifiers.
Select Objects Dialog (page 1–74)
“Topology-dependent” simply means that the
modifier is relying on the particular arrangement
and number of faces and vertices that comprise the
mesh representation of the object. It is common,
for example, for the modifier to cause an action to Architectural Desktop Files
be performed on the nth element it encounters,
say the “twelfth” face or the “fourth through the
in Autodesk VIZ
twentieth” vertex. It is easy to perform edits on
the base object in AutoCAD that would cause
Architectural Desktop Files
the definition of the nth element to change,
which would result in the modifier yielding DWG files from Autodesk Architectural Desktop
unexpected results when the drawing is reloaded often contain additional information, such as
in Autodesk VIZ. special ADT objects, material definitions, and
styles. Autodesk VIZ is thoroughly compatible
Not all modifiers are topology-dependent. When
with ADT, and it recognizes all of these specialized
you attempt to use a topology-dependent modifier
objects and definitions during the file link process.
on linked AutoCAD geometry, a warning dialog
is displayed that gives you an opportunity to
continue or abort the operation.
Architectural Desktop Objects in Autodesk VIZ 343
• Material assignment
Architectural Desktop Objects in
So, for example, if a window object in Autodesk
Autodesk VIZ
Architectural Desktop contained a mullion
Each instance of an Architectural Desktop object is component, but a portion of the component had
represented by multiple objects in Autodesk VIZ. a different material assignment than the rest of
Whenever the file link process detects a useful it, the mullion component would appear as two
distinction between elements of an Architectural separate objects when linked into Autodesk VIZ.
Desktop object, it automatically separates, names, The objects will be linked together with all the
and groups the elements in Autodesk VIZ to other components of the window, but you could
make them easier to work with. The new objects modify the material properties of the two mullion
created in Autodesk VIZ through file linking are objects separately. If you changed the material
grouped together hierarchically below a special assignments in Architectural Desktop so that the
object called a VIZBlock, allowing you to deal entire mullion component only had one material
with individual objects in the hierarchy or with all assignment, then when you reloaded the drawing
of them as a group. You can view this hierarchy, in Autodesk VIZ there would only be one mullion
but you cannot change it in Autodesk VIZ. You object present.
can only change the hierarchy indirectly by editing Note: Material assignment and Layer are two of the
the objects in Architectural Desktop, and then properties used to separate one component from
reloading them into Autodesk VIZ using the File another. When these are changed in the ADT
Link Manager (page 3–323). drawing, new objects are created in Autodesk VIZ,
Note: Autodesk VIZ does not display linked or geometry may move from one object to another.
Architectural Desktop light objects. The best way In either case, some scene properties are changed,
to link lights from your Architectural Desktop such as assigned material or scene layer.
design to Autodesk VIZ is to define them as
Autodesk VIZ organizes and names file linked
blocks in Architectural Desktop, and then use
objects to reflect their structure in Architectural
the Substitute modifier (page 2–210) to replace
Desktop, using a parent-child hierarchy. The
them with Autodesk VIZ lights with photometric
parent object will be a VIZBlock named object
(page 3–714) parameters. This allows you to use
class <style>, and this VIZBlock will have one
Autodesk VIZ radiosity functions (page 2–1350)
or more child objects named object class <style
to simulate the behavior of real lights in your scene.
name> component1, object class <style name>
component2, and so forth. Objects that originate
Criteria for Subdividing Architectural
in an xref drawing in Architectural Desktop are
Desktop Objects
grouped together under a VIZBlock that is named
The File Link Manager divides an Architectural for the xref drawing.
Desktop object into multiple objects in
Autodesk VIZ if it detects distinctions based on The following table lists some examples of the
the following features: naming conventions of Architectural Desktop
objects that are file linked in Autodesk VIZ.
• Component name
• Component subtype (for example, in sectioned
bodies)
• Layer
Name in Remarks architectural visualization (that convey surface

Autodesk VIZ coloring, surface texture, transparency, and so
Xref:Drawing1XRef: A VIZBlock containing one or more forth) are only one of many sets of properties
5701 objects found in drawing1.dwg, covered in an Autodesk Architectural Desktop
which is an xref in the linked
Architectural Desktop drawing. material definition. To make your work more
efficient, the rendering material properties
Window <Picture- A VIZBlock for an object
Arched> of class=Window and stored and assigned in Architectural Desktop are
style=Picture-Arched. There designed to flow transparently to Autodesk VIZ
will one or more components that
belong to this object instance,
through the File Link Manager (page 3–323).
which will be child objects with
the VIZBlock as their parent. See also
Window <Picture- A component to the object,
Arched> Frame named Frame.
Propagate Materials to Instances (page 3–355)
Note: It is possible for instances of the same

Architectural Desktop object to subdivide Assigning Materials to Linked
differently into Autodesk VIZ objects. Architectural Desktop Objects
Architectural Desktop objects are considered
Material assignments exhibit special behavior on
instances of the same object if their type, style
linked Autodesk Architectural Desktop objects
name, and component name are exact matches,
and blocks, and the behavior is controlled by the
and this will affect their instancing behavior for
Propagate Materials To Instances toggle (page
Autodesk VIZ functions such as substitution as
3–355).
well as material propagation.
In the default state, assigning a material to any
See also component of any linked Architectural Desktop
Instanced Objects, Elements, Blocks and Styles object or block is equivalent to assigning the same
(page 3–355) material to every instance of that component of
that object or block throughout your scene.
Styles (page 3–360)
As an example, let’s say you have multiple instances
of a block named Telephone in your Architectural
Desktop drawing, which consists of two nested
blocks named Handset and Base. If you assign a
material to one Handset anywhere in your scene,
Materials and Linked all the Handsets in all the Telephones throughout
Architectural Desktop the scene will receive that material.
Objects If you want to keep materials from propagating
Materials in Autodesk VIZ are vital to making between instances in your scene, turn off the
your visualizations compelling and realistic. The Propagate Materials To Instances toggle (page
native material attributes that Autodesk VIZ relies 3–355).
on are those that tell it how to render the surface
of an object given certain lighting conditions. See also
Those material properties that are so central to Instanced Objects (page 3–356)
Making Changes to Architectural Desktop Materials 345
Blocks (page 3–357) legacy AutoCAD renderer. Any assignments

of these materials to geometry in Architectural
Desktop that is made through the RMAT
Making Changes to Architectural command or its Material dialog in Architectural
Desktop Materials Desktop will be ignored in Autodesk VIZ.
Architectural Desktop object components In theory, RMAT materials could be assigned to

frequently appear in Autodesk VIZ carrying Architectural Desktop objects (not AutoCAD
rendering material assignments that were made objects) by incorporating them into Architectural
in Architectural Desktop. You can use these Desktop material definitions, and using these
materials, adjust them, or replace them with new material definitions in edits to Architectural
rendering materials for use in Autodesk VIZ. If you Desktop styles or object overrides. Materials
modify or replace the materials in Autodesk VIZ, created and assigned in this way would appear in
or if they change in the linked Architectural Autodesk VIZ assigned to the linked Architectural
Desktop drawing, you can choose either to retain Desktop objects. However, this practice is not
the current material in Autodesk VIZ or else to recommended because the native Autodesk VIZ
revise the material assigned in Autodesk VIZ with Architectural materials have more complete
the current material in Architectural Desktop information on the surface characteristics of
when you use the File Link Manager (page 3–323) objects, and are easier to create and share. In
to reload the linked drawing. other words, you work faster, share easier, and get
better results using native Autodesk VIZ rendering
Note: When Autodesk VIZ encounters additional
materials in both Architectural Desktop and
material references among xref files that use a
Autodesk VIZ.
material name that is already in use, it compares
the properties of the two material definitions in an
attempt to determine whether they really represent
See also
identical materials. If the two materials appear Material Editor, Materials, and Mapping (page
to be the same material being used in different 2–1025)
drawings, Autodesk VIZ will use only one of the
material definitions for all objects assigned either
material. But if Autodesk VIZ determines that this UVW Mapping in Architectural
is merely a naming conflict between two different Desktop Objects
materials, it will slightly modify the name of one
An important consideration in how many
of the materials and keep the materials and their
materials render is how they are “mapped” to
assignments distinct.
the surfaces of the objects they are assigned to.
This is especially important for materials that use
Legacy Materials in Architectural
Desktop bitmaps (page 3–660) to define the diffuse color of
a material, or the bump and cutout special effects.
Longtime users of AutoCAD may be familiar with As an example, you may have scanned a picture
an older form of material creation and assignment of wood grain for use in a material, but when
associated with the RMAT command in AutoCAD the material is applied to an object, how large
that is still present in Architectural Desktop. should the image of the wood grain be? Which
Materials developed in this way can be viewed way do you want the grain to run, and how do you
in Architectural Desktop and rendered with the
want the grain to wrap around the corners of a treated differently by the import/file link process.
three-dimensional object? The primary differences are:
How two-dimensional maps are applied to • object naming conventions
three-dimensional surfaces is represented by • scene organization of incoming geometry (how
mapping coordinates (page 3–696), which are the objects are combined)
stored as UVW coordinates (page 3–743). In
• parent-child hierarchy of scene objects
cases where mapping coordinates are likely to
be important to the rendered appearance of an • possible automatic material assignments
object, Architectural Desktop assigns UVW Important: Autodesk VIZ cannot directly import (or
coordinates to object components. Autodesk VIZ link) a native Revit project (RVT). You must first export
translates these coordinates and stores them in a DWG or DXF file from Revit before you can import
the object mesh that is displayed and rendered the model into Autodesk VIZ. The imported or linked
in the Autodesk VIZ scene. You can adjust these file will contain scene objects that correspond directly
coordinates in Autodesk VIZ using the UVW to individual Revit objects. In addition, most materials
Xform modifier (page 2–285), or you can redefine are translated and assigned to the objects, giving Revit
them all at once using the UVW Map modifier customers a head start toward better visualization and
(page 2–274). faster rendering of their models.
Important: Make sure that Rescale is turned on in the Note: If you’re working in 3ds Max 7.0 and you
Attach Panel of the File Link Manager dialog. Otherwise, perform a File Link Reload of an Autodesk VIZ
if the units do not match, the UVW coordinates will be 2006 scene containing a linked Revit model, the
incorrectly scaled when linked to Autodesk VIZ. scene may not reload correctly. This limitation
is corrected when you’re running 3ds Max 7.5 or
higher.
See also
Drawings Exported from Revit Elements in Autodesk VIZ (page 3–346)
Revit in Autodesk VIZ Material Translation and Linked Revit Objects
(page 3–352)
Drawings Exported from Revit
The Export function in Autodesk Revit lets you Revit Elements in Autodesk VIZ
export models to DWG or DXF file formats. In
Whenever you use the File Link Manager or
Revit 6.1 and 7.0, the exported drawing entities
DWG/DXF Import functionality, Autodesk VIZ
contain additional information, “Revit data,” such
detects a useful distinction between categories of a
as their originating Category, Family, Type, and
Revit elements. It automatically separates names
Material.
and groups the elements in Autodesk VIZ to make
The File Link Manager (page 3–323) and them easier to work with. The new objects created
DWG/DXF Import functionality looks for and in Autodesk VIZ through file linking are grouped
processes this additional information. When together hierarchically below a special object
“Revit data” is found with an object, the object is called a Block/Style Parent (page 3–661), allowing
Revit Elements in Autodesk VIZ 347
you to deal with individual objects in the hierarchy system families; they include walls, dimensions,
or with all of them as a group. This hierarchy is ceilings, roofs, floors, and levels.
similar to the one created when Architectural Besides being a class of elements, families are
Desktop objects are linked. also a template that allows you to generate new
You can view this hierarchy, but you cannot change types of items that belong to this family.
it in Autodesk VIZ. You can change the hierarchy • Types—Types, also called a family types, are
only indirectly by editing the elements in Revit, a class of elements within a family that have
exporting an updated DWG, and then reloading the exact same values for all type properties.
the drawing. For example, all 32x78 six-panel doors belong
to one type, while all 24x80 six-panel doors
Criteria for Subdividing Revit Elements belong to another type. Like a family, a type
The File Link Manager organizes Revit elements is also a template that generates new instances
into multiple Autodesk VIZ objects based on the of this type.
following classification of elements: • Instances—Instances are the actual items that
• Categories—Categories are the most general have specific locations in the building (model
class of element. They are subdivided into instances) or on a drawing sheet (annotation
model categories and annotation categories. instances).
Model categories include doors, windows, Autodesk VIZ organizes and names file linked
walls, and furniture. Annotation categories objects to reflect their structure in Revit, using
include dimensions, grids, levels, and text a parent-child hierarchy. The parent object is
notes. a Block/Style Parent named category <family
• Families—Families are classes of elements within : type>, and the Block/Style Parent has one or
a category that group elements with a common more child objects named category <family :
set of parameters (properties), identical use, type> subcategory1, category <family : type>
and similar graphical representation. Different subcategory2, and so forth.
elements within a family may have different
For example, if a single-flush door object in
values of some or all properties, but the set of
Revit is linked to Autodesk VIZ, it will have
properties—their names and meaning—is the
a parent-child hierarchy displayed as a parent
same.
object, Doors <Single-Flush : 34” x 80”>, with
For example, six-panel colonial doors are one three children, (2) Doors <Single-Flush : 34” x
family, although the doors that compose the 80”> Frame/Mullion and a Doors <Single-Flush
family come in different sizes and materials. : 34” x 80”> Panel. The objects will be linked
Most families are component family files, together with all the other components of the door,
which means you can load them into your but you could modify the material properties of
project or create them from family templates. the two frame/mullion objects separately. If you
You can determine the set of properties and changed the material assignments in Revit so that
the graphical representation of the family. the entire frame/mullion component only had one
Other families are called system families and material assignment, then when you reloaded the
are not available for loading or creating in drawing in Autodesk VIZ there would only be one
Revit. Autodesk Revit predefines the set of frame/mullion object present.
properties and the graphical representation of
When working in Revit, you also have the ability Imported/File Linked Remarks
to link AutoCAD drawings or other Revit projects Name
to your current project. This is comparable to Casework <Base
A Block/Style Parent object
using xrefs in AutoCAD. Objects that originate as named, Casework <Base
Cabinet-4 Drawers :
18”>
Cabinet-4 Drawers : 18”> and
a linked drawing in Revit are grouped together the two, child components,
as Linked Geometry that is named for the linked Casework <Base Casework <Base Cabinet-4
Cabinet-4 Drawers : Drawers : 18”> and Casework
drawing. In this case, the parent object is named 18”> <Base Cabinet-4 Drawers : 18”>
Import Symbol <drawing.dwg> and its children Casework <Base Cabinet
are named Import Symbol <drawing.dwg> Cabinet-4 Drawers :
subcategory1, Import Symbol <drawing.dwg> 18”> Cabinet
subcategory2, etc. The subcategories are derived Import Symbol This object is Linked Geometry
from the layers that the objects reside on in the <drawing1.dwg> containing one or more
components found in
drawing. drawing1.dwg, which is a
drawing that is linked to the
The following table lists some examples of the Revit drawing. This linkage
naming conventions of Revit objects that are is comparable to an xref in
AutoCAD.
imported or file linked in Autodesk VIZ.
Imported/File Linked Remarks Note: It is possible for instances of the same Revit
Name element to subdivide differently into Autodesk VIZ
Door <Single-Flush : A Block/Style Parent for an objects. Revit elements are considered instances of
34” x 80”> object of catagory=Door, the same element if their category, family, and type
family=Single-Flush and name are exact matches, and this will affect their
type=34” x 80”. This parent
object has one or more instancing behavior for Autodesk VIZ functions
components, that are child such as material propagation.
objects displayed as Linked
Geometry.
Revit Cameras and Views
Window <Casement A component to an object
with Trim : 24” x 48”> named, Window <Casement In order to navigate a Revit drawing more
Frame/Mullion with Trim : 24” x 48”>. This is a
child object and is displayed as
efficiently, you might have set up a series of 3D
Linked Geometry. In Revit, the views by means of placing cameras at different
Frame/Mullion is a subcategory viewpoints around the drawing. The File Link
of Windows.
Manager and Import functions of Autodesk VIZ
allow camera views to be treated as Autodesk VIZ
cameras.
You must meet two conditions in order for
Autodesk VIZ to understand Revit camera views.
• A camera view must be active before you export
the DWG file from Revit.
Note: Only the active camera view is exported.
• You have to make sure you’ve turned on the
Views (cameras) switch in the Basic File Link
Settings dialog (page 3–327).
Suggested Settings for Revit Projects 349
When the drawing is linked to Autodesk VIZ, that

camera and its target appear in the scene named Suggested Settings and
Camera:viewname and Camera:viewname.Target.
Workflow
Light Sources
Drawing files, exported from Revit, can contain Suggested Settings for Revit
light sources, however, they do not export with the
Projects
DWG or DXF files. What does get exported is the
3D mesh geometry representing the light fixture. The File Link Manager and DWG/DXF Importer
Therefore, when you import or link the drawing to have many settings that you can adjust so you
Autodesk VIZ, the light object is strictly geometry, get the best results when linking or importing a
not an actual light source like a spotlight or omni drawing that you’ve exported from Revit. In this
light that you can adjust. section, you’ll find some recommended settings
that you can use when linking or importing
These pieces of geometry are still useful in that you
your DWG files. These settings are found on the
can use them as reference points for placing and
Basic File Link Settings dialog (page 3–327), the
aligning lights you add in Autodesk VIZ.
Advanced File Link Settings dialog (page 3–330),
the Spline Rendering File Link Settings dialog
DXF Files
(page 3–333), and the AutoCAD DWG/DXF
Along with the ability to export DWG files, Revit Import Options dialog (page 3–147).
can also export to the DXF file format. The only
difference is in how they handle drawings that are Use the Revit Preset
linked (RVT links) to the Revit drawing.
Autodesk VIZ includes a preset named “Revit”
When exporting to DXF, the linked drawings are that you can use when using File Link to link a
automatically bound to the drawing. Therefore, drawing that is exported from Revit. The Revit
while exporting to a DWG honors the linked preset has many of the following suggested settings
drawings and treats them as AutoCAD xrefs, an turned on by default. Or, you can use the Revit
exported DXF file will not have xrefs. Instead, the preset as a basis for your own customized Revit
linked drawings are converted to blocks. preset containing the settings you prefer.
The resulting scene organization will be slightly The Revit preset can be assigned from the Preset
different when linking or importing a DXF as list on the Attach panel of the File Link Manager
opposed to a DWG, but only when RVT links are (page 3–323). You can edit the preset (page 3–336)
present in the drawing. by choosing the Revit preset shown on the Presets
panel of the File link Manager.
See also If you plan on creating your own presets or
Instanced Objects, Elements, Blocks and Styles modifying the Revit preset, use these settings to
(page 3–355) streamline the file linking process.
Styles (page 3–360)
Turn on Weld and set a Weld Threshold
• Weld and Weld Threshold are found on the
Basic panel of the File Link Settings dialog or in
the Geometry Options group of the AutoCAD Elements are occasionally missing Revit embedded
DWG/DXF Import Options dialog. data. When this data is missing, the objects are
"derived" according to the Derive AutoCAD
When Revit exports model geometry to a DWG
Primitives By setting. Deriving by either of the
file, objects are translated as multiple surface
Entity choices will not, generally, give you the
meshes. For example, a single wall is made up
end result you want and could result in a scene
of 6 or more AutoCAD entities; each a polyface
in Autodesk VIZ that contains a vast number of
mesh with vertices that overlap their neighbors.
individual objects. In particular, these settings can
When the meshes get linked to Autodesk VIZ,
cause issues with railing balusters.
the File Link Manager or DWG/DXF Importer
recombines them back to a single object. However,
Use Layer, Blocks as Node Hierarchy
when the meshes are recombined, their vertices
are not welded, so you end up with a larger and • On the Advanced File Link Settings dialog, use
less elegant model than expected. By turning Layer, Block as Node Hierarchy, when choosing
on the Weld option and setting an appropriate a Derive AutoCAD Primitives By option.
Weld Threshold (like 0.1" or smaller), coincident The Layer, Blocks as Node Hierarchy derive by
vertices are welded together and the file structure option, often gives the best results for linking
is more efficient. DWG files, especially when the Revit project has
Note: This is particularly important if you plan to other drawings, RVT links (page 3–723), linked to
do radiosity rendering because gaps in the model it. Combining by Layer (node hierarchies or not) is
can cause leaks that greatly increase the rendering the preferred setting. RVT links get exported to the
time. DWG as xrefs. If you want the File Link Manager
to preserve color and material assignments of
Turn on Views (cameras) those objects, Layer, Blocks as Node Hierarchy is
• Views (cameras) is found in the Include group the setting to use.
on the Basic panel of the File Link Settings
Turn on Material Definitions and Assignments
dialog and the AutoCAD DWG/DXF Import
Options dialog. • The Use Scene Material Definitions and Use
Scene Material Assignments on Reload switches
If you’ve set up one or more cameras in your Revit
are on the Advanced File Link Settings dialog.
project, the File Link Manager or DWG/DXF
Importer will recognize and link a camera when These two switches are quite important when
the Views (cameras) option is turned on. There is, you’ve got materials assigned in your Revit project.
however, a catch. Before you export a DWG from
When the Use Scene Material Definitions switch is
Revit, the camera view must be active and only the
turned on, Autodesk VIZ checks the scene for any
active camera will be exported.
currently used materials matching the exact same
name as a material name in the linked DWG file. If
Avoid Entity and Entity, Blocks as Node
Hierarchy a match is found, File Link does not translate the
drawing’s material, and instead uses the material
• On the Advanced File Link Settings dialog, defined in the scene.
when choosing a Derive AutoCAD Primitives
By option, avoid Entity and Entity, Block as When turned off, the File Link Manager always
Node Hierarchy. uses the material definitions contained in the
Suggested Workflow for Revit to Autodesk VIZ Projects 351
DWG file, and will overwrite scene materials program. Autodesk VIZ comes into play when
with the same name, regardless of which objects you’re ready to produce some higher end
the material is applied to. In addition, material renderings and perhaps add some final details.
definitions are always reloaded from the DWG file,
Following is a basic description of the expected
so if you make changes to a linked material, then
workflow between Revit and Autodesk VIZ:
reload, those changes will be lost.
1. You’ve completed most of the design work in
If the Use Scene Material Assignments on Reload Revit and you’re ready to add finishing touches
switch is turned on, linked objects with a material and create some presentation renderings.
already assigned to them in the Autodesk VIZ
scene will not have that material assignment 2. From Revit, export a DWG file.
changed. When turned off, linked objects have Exporting to a DWG file is necessary because
their material assignment ‘coordinated’ with the the File Link Manager cannot accept the
drawing, so that the two are in-sync. “native” Revit project (RVT) files.
3. Start Autodesk VIZ and use the File Link
Determine how you want Splines Handled Manager to link the DWG file.
• The settings on the Spline Rendering File Link Link the drawing using presets that include
Settings dialog control how shapes and splines the linking settings you want as described in
are linked or imported into Autodesk VIZ. the Suggested Settings for Revit Projects (page
In your original project, you may have used 2D 3–349) section.
lines to represent joints between sidewalk pavers 4. Adjust materials or make final modifications in
or as mullions separating sections of a curtain wall. Autodesk VIZ in preparation for rendering.
The settings on the Spline Rendering panel let you
Depending on the results at this stage, you may
use those lines more advantageously.
find that the Revit project needs to be changed
When you turn on Enable In Renderer and/or and updated.
Enable In Viewport, lines are visible when you 5. In Revit, makes changes to the project like
render the scene or are treated as selectable objects moving walls, adding new doors and windows
in the scene. You can also adjust the appearance or adding/removing objects.
of lines by having them display as radial or
For structural changes like adjusting walls,
rectangular geometry.
doors, windows, etc., it’s best to make these
Tip: Using the Sweep modifier (page 2–218) with changes in Revit because those changes need to
2D splines or shapes lets choose a cross-sectional be included in the originating project. File Link
shape that is swept along the spline resulting in is a one way link so any changes you can make
much more scene detail. in Revit, should be made in Revit. Otherwise,
you’d have to remember to make the same
changes in both Autodesk VIZ and Revit.
Suggested Workflow for Revit to
6. When the changes are completed, export
Autodesk VIZ Projects another DWG file with the same name as the
Most of the work you do on your Revit project original DWG file you exported in step 2.
will be done in Revit. The initial design, layout
and modeling all occurs from within the Revit
If you give a new name to the exported DWG, Therefore, an AccuRender material that uses
the File Link Manager will not show that the a bitmap image in the base texture definition
currently linked file has been updated. will provide a more accurate translation to
7. In Autodesk VIZ, open the File Link Manager Autodesk VIZ.
and review the Files panel. Select the updated Note: There are some limitations on what is
file link and click the Reload button — Turn translated between Revit/AccuRender materials
on Show Reload Options if you want to change and Autodesk VIZ materials because there is not a
link settings. one-to-one correlation between the two material
The changed model reloads to Autodesk VIZ definitions.
and changes made to the model in
Autodesk VIZ prior to the reload are retained. Material Assignments
The Revit DWG Exporter puts embedded
The symbol means the DWG file has been
information on each object it exports. Amongst
updated.
this information are identifiers specifying
material assignments. Revit creates the same
kind of material definitions used by Architectural
Desktop, VIZ Render and Autodesk VIZ. When
imported or linked, Autodesk VIZ uses this
Materials and Linked Revit information to translate and maintain the material
Objects assignment to the resulting scene object.
Because the material identifier is embedded, if you
opened the DWG in AutoCAD, you would not see
Material Translation and Linked
the applied materials.
Revit Objects
Revit offers many options for specifying a material
When you export a DWG or DXF from Revit
to an object or class of objects. Likewise, there
projects, materials are translated into a format
are many ways where material assignments
that Autodesk VIZ can understand. Revit
can be overridden. The results you see in the
creates materials in the same format as used
Autodesk VIZ scene, in terms of how the materials
by Architectural Desktop, VIZ Render and
are applied, match what you see in the Revit model.
Autodesk VIZ. There are two kinds of materials
associated with the Revit project; AccuRender The exception to the rule would be if many of the
materials and Revit materials. When a Revit materials are AccuRender procedural materials. In
material references an AccuRender material, these cases, you will see only the diffuse color.
the AccuRender material’s parameters are used;
otherwise, the Revit material parameters are used. Texture Coordinates
There is an important caveat to this. AccuRender Material textures on imported or linked objects
materials that reference a bitmap file are translated have the same appearance as within Revit or
in Autodesk VIZ without any problems, while AccuRender. Of course, the exception to this rule
AccuRender materials that are considered is when AccuRender procedural textures are used.
“procedural” are only translated at the most basic When materials from Revit are viewed in the
level. Autodesk VIZ Material Editor, you’ll notice that
Applying Materials to Linked Revit Objects 353
some settings are not translated or they are not

set as you’re used to seeing in Autodesk VIZ. For Applying Materials to Linked Revit
example, if the texture map of a flooring material Objects
has a rotation of 45 degrees in the Revit project,
As with models that are imported or linked
the rotation setting does not translate when the
from Architectural Desktop, there are special
model is linked/imported to Autodesk VIZ. The
behaviors exhibited with materials assigned to
rotation for the texture map is set to zero in the
linked Revit objects. The behavior is controlled by
Autodesk VIZ Material Editor.
the Propagate Materials To Instances toggle (page
3–355).
Map Scaling
When applying materials to a linked drawing in
The scale of material textures is of primary
Autodesk VIZ, family and type plays an important
importance. The File Link Manager or DWG/DXF
role in material management. Assigning a material
Importer attempts to read and translate the offset
to any component of any linked Revit object is
and tiling of the materials so the texture maps
equivalent to assigning the same material to every
appear in Autodesk VIZ as they do in Revit.
instance of that component in every object with
However, map scaling may differ because the Tile the same family and type throughout your scene.
Size settings in Revit are measured in decimal
As an example, say you have multiple instances of
feet or meters even if your Project Units are set to
a Doors <Single-Flush : 34” x 80”> door in your
Decimal Inches or Millimeters. Once the model is
drawing, which consists of three components:
linked or imported to Autodesk VIZ, you can turn
two Frame/Mullion components representing the
on Use Real-World Scale and match the Tile Size
inside and outside trim and a Panel component.
settings. The main thing is to pay attention to the
If you assign a material to one Panel component
Tile Size settings when you create the material in
anywhere in your Autodesk VIZ scene, all the
Revit.
Panels for all the Doors of that family and type
As a example, let’s say you’ve created a material throughout the scene will receive the new material.
in Revit that uses a brick texture map with an X:
If you want to keep materials from propagating
Tile Size set to 20 and a Y: Tile Size set to 16. If you
between instances in your scene, turn off the
open that material in the Autodesk VIZ Material
Propagate Materials To Instances toggle (page
Editor, you will find that the Width and Height
3–355) from the Material Editor’s Options menu.
Size settings are automatically set to 20’ and 16’
respectively. The texture mapping will always
See also
be scaled correctly in the scene. How a material
is displayed in the Material Editor depends on Instanced Objects (page 3–356)
whether Use Real-World Scale is turned on or off.
Blocks (page 3–357)
See also
Propagate Materials to Instances (page 3–355) Editing Revit Materials in
Autodesk VIZ
Once a drawing is linked or imported to
Autodesk VIZ, you can modify or replace the
materials. The File Link Manager maintains a list
of materials that it links to Autodesk VIZ. If you bottom level of the material. The Vein material is
change the properties of an assigned material while ignored.
working in Autodesk VIZ, the new properties
AccuRender materials that are applied to objects
can get overwritten the next time you reload an
in the Revit drawing are translated when you link
updated drawing, exported from Revit.
or import the drawing to Autodesk VIZ. If the
During a File Link reload, if the Show Reload texture used for the material is a digital bitmap
Options switch is turned on, you can control like a BMP or JPG file, the texture will be included
how materials are handled by using the Use with the material.
Scene Material Definitions or Use Scene Material
However, if the texture being used is one of the
Assignments on Reload options.
Procedures, the texture is not translated when the
drawing is brought into Autodesk VIZ. In these
Procedures
cases, you will see only the diffuse color.
To retain material settings made in Autodesk VIZ
during a reload: See also
1. On the Files panel of the File Link Manager,
Material Editor, Materials, and Mapping (page
make sure the Show Reload Options switch is
2–1025)
active.
2. Select the updated DWG file from the Linked
Files list and click Reload. UVW Mapping on Revit Elements
3. Open the Advanced tab and turn on Use Scene An important consideration in how many
Material Definitions and then click OK. materials render is how they are “mapped” to
The updated DWG file is reloaded and Revit the surfaces of the objects they are assigned to.
materials retain the setting changes you made This is especially important for materials that use
in Autodesk VIZ. bitmaps (page 3–660) to define the diffuse color of
a material, or the bump and cutout special effects.
AccuRender Materials As an example, you may have scanned a picture
of wood grain for use in a material, but when
AccuRender materials consist of one or more base
the material is applied to an object, how large
materials. For each base material you can set
should the image of the wood grain be? Which
attributes such as color, reflectivity, transparency,
way do you want the grain to run, and how do you
index of refraction, bump maps, and image maps.
want the grain to wrap around the corners of a
The Procedures list displays the simple materials three-dimensional object?
that combine to form your final material definition
How two-dimensional maps are applied to
and the rules for combining them. For simple
three-dimensional surfaces is represented by
materials, there is only one item in the list: Base.
mapping coordinates (page 3–696), which are
For complex materials, a tree indicates how the
stored as UVW coordinates (page 3–743). Revit
components combine. For example, the marble
assigns UVW coordinates to object components,
procedure consists of a Base material and a Vein
so in cases where mapping coordinates are
material. While the Base material is considered
important to the rendered appearance of an object,
a ’procedure’, it is translated because it’s at the
Autodesk VIZ translates these coordinates and
Using Revit Materials on Autodesk VIZ Geometry 355
stores them in the object mesh that is displayed

and rendered in the Autodesk VIZ scene. Propagate Materials to Instances
Material Editor > Options menu > Propagate Materials
to Instances
Using Revit Materials on
Autodesk VIZ Geometry Automatic material propagation is active by
default. While material propagation is active, any
material assignment you make will be propagated
After you’ve linked a DWG file that has been to all instances (page 3–689) of the object in your
exported from Revit, you may find that some of the scene, including:
materials that were created in Revit could be used • AutoCAD blocks
on new geometry you’re adding while working on
the model in Autodesk VIZ. Reusing a material is • Architectural Desktop style-based objects
often easier than creating a brand new one. • Revit objects
For example, let’s say a wall element in the Revit • Any instances of objects you’ve made in the
project has a brick material that you’d like to use on current scene
an object you added to the model while working If you need to assign a material to an individual
in Autodesk VIZ. If you simply apply the material block, object, instance, or style component, you
to the new object, you’ll find that the texture map can turn off Propagate Materials To Instances from
does not show as it does on the wall that came the Material Editor’s Options menu.
from Revit. This is because UVW coordinates of
the new object are not set up to coordinate with
the Tiling parameters of the Revit material.
When using Revit materials with objects created
in Autodesk VIZ, there are really two things to Instanced Objects,
keep in mind; Elements, Blocks, and
• All materials from Revit use real-world scaling. Styles
• Real-world scaling must be active for objects
you’ve created in Autodesk VIZ.
There are a few way to make sure your
Instanced Objects, Elements,
Autodesk VIZ objects are using real-world scale. Blocks and Styles
• If you’re working with a primitive object, like The primary structural entities you will find in
a box or cylinder, make sure Real-World Map a model or project that is linked/imported to
Size is active. Autodesk VIZ from AutoCAD, Architectural
Desktop or Revit are style-based objects (page
• For more complex objects, apply a UVW
3–360) (in ADT models), family elements (in Revit
Map modifier (page 2–274) and make sure
projects) or blocks (page 3–357) (in both ADT and
Real-World Map Size is active.
AutoCAD files). Each style-based object, family
• Assign the object a MapScaler modifier (page element, or block will most likely have many
2–147). instances (page 3–356) in the Autodesk VIZ scene.
• Instances are multiple occurrences of objects assigned to the various components, and so
such as style-based objects or blocks that are forth. Altering the style definitions changes the
clone instances. When you link a model or appearance of the object in the scene.
drawing that contains instanced objects to
Autodesk VIZ, those objects remain instances See also
of one another.
Object Properties Dialog (page 1–107)
• Family Elements in a Revit project represent
different items of a building and are separated
into two general categories; Model and Instanced Objects
Annotation. The Model category includes
Instanced objects are AutoCAD, Revit or
such elements as walls, doors, windows and
Architectural Desktop objects or blocks that you
stairs while the Annotation category includes
can drag and drop into Autodesk VIZ.
dimensions, text notes and section tags. When
a DWG is exported from Revit and linked Modifiers and materials that are applied and
to Autodesk VIZ, elements appear in the assigned to an instanced object propagate
Modifier panel as Block/Style Parents (page throughout all instances of the object. For
3–661), meaning you’ve selected the element example, if all the doors in a scene have glass panes
at its topmost level, or as Linked Geometry and you change the glass material of one door, all
(page 3–692), meaning one of the element’s the doors of the same style will adopt that material.
subcomponents. Propagation of materials can be controlled by
• Blocks are reusable objects made in AutoCAD toggling Propagate Materials To Instances (page
or Architectural Desktop. Blocks are made 3–355).
of one or more objects that can be inserted Once you link a model to Autodesk VIZ, instanced
into a scene at different locations, scales and objects can be transformed (moved, rotated, or
orientations. Blocks can also be an amalgam scaled). If you don’t like the way an object is
of other blocks. A block that is made of other transformed, you can use the Undo command
blocks is referred to as a nested block. Once or Reset Transform button (page 3–341) on the
linked to Autodesk VIZ, blocks appear in the Modify panel.
Modifier panel as VIZBlocks, meaning you’ve
selected the block at its topmost level, or as
Linked Geometry, meaning one of the block’s Family Elements
subcomponents.
When modifiers and materials are assigned to
Note: If you use one of the “node hierarchy”
family elements that are imported or linked to
Derive By settings, you will see Block/Style Autodesk VIZ, they propagate throughout all
Parent objects in the Modifier panel and not instances of the element if their family and type
VIZBlocks. match exactly. For instance, one particular part of
• Architectural Desktop style-based objects are your model shows a room with three doors. Two
complex objects like Doors and Windows of the doors are Doors <Single-Flush : 32” x 80”>
whose components rely on style definitions and the third is a Doors <Single-Flush : 36” x
to control how they appear in the scene. For 80”>. If you change the panel material of one of the
example, style definitions for a door set the Doors <Single-Flush : 32” x 80”> doors, the panel
type of door, the door thickness, the materials of the other Doors <Single-Flush : 32” x 80”>
Blocks 357
door will also change because their family, Doors, Note: A change to the drawing in AutoCAD is
and type, Single-Flush : 32” x 80”, are identical. reflected in Autodesk VIZ when you reload the
linked model. Changes made in Autodesk VIZ do
Propagation of materials can be controlled by
not propagate back to AutoCAD.
toggling the Auto Material Propagation Toggle
(page 3–355).
Block and Modifying Linked Geometry
Linked objects show up as linked geometry objects
Blocks in the modifier stack. These objects don’t allow
access to sub-object levels where minor editing
The concept of blocks originated in AutoCAD.
can occur at Vertex or Face levels. You must first
Blocks allow you to combine one or more objects
add an Edit Mesh modifier to the object in order
into a single reusable object. Blocks can be
to access sub-object levels where you can perform
repeatedly inserted in the drawing at various
operations like welding vertices or deleting faces.
locations, orientations, and scales. Changes made
If you add a modifier to a block, the modifier is
to a block propagate automatically to all instances
applied to all instances of that block. Likewise, any
of that block throughout the drawing. Like
sub-object level editing to the originally selected
all drawing construction, inserting or deleting
block propagates to all other instances.
blocks occurs while you work in AutoCAD or
Architectural Desktop. Note: Any modifiers you apply to a block or block
component in Autodesk VIZ are preserved if you
You then link the DWG file to Autodesk VIZ, where reload the file with the File Link Manager (page
your goal is to beautify the scene in preparation 3–323).
for rendering. Some of those preparations include
such procedures as selecting a block instance If you move, rotate, or scale blocks or block
so you can apply or adjust a material, applying components in Autodesk VIZ, their new transform
texture mapping coordinates, unifying or flipping is preserved even if the linked model is reloaded
normals, and setting rendering properties. These from AutoCAD. Transforms applied to linked
procedures affect all other block instances in the geometry in Autodesk VIZ are relative to the
scene. transforms applied to the same objects in
AutoCAD. Further, the transform propagates to
The structure of nested blocks, blocks that are all instances of that block or component. For
made from multiple sub-blocks, is maintained example, if you move the Chair component of
when you link an AutoCAD drawing to Desk1, the Chair component of all Desk1s in
Autodesk VIZ. For example, if the block Desk1 the scene will be moved. If the transform is
is made using several blocks, Desk, Chair and undesirable, you can use the Reset Transform
Return, you will be able to select any of Desk1’s button (page 3–341) on the Modify panel to
sub-blocks to alter their rendering properties put the block or component back to its original
or materials. You can only access rendering position.
properties for block components that appear as
Linked Geometry on the Modifier panel. Blocks When a modifier is applied to a block or block
or sub-blocks, that appear as VIZBlocks in the component, it propagates throughout all instances
Modify panel, do not have rendering properties of the block or block component in the scene.
because they are not renderable.
Limitations of Blocks Multi-View Blocks (MVBlocks)

Blocks have some limitations when you link a Autodesk VIZ accommodates both AutoCAD
drawing to Autodesk VIZ. blocks and Autodesk Architectural Desktop
• You cannot change the structure of actively multi-view blocks through the file linking
linked blocks or their components in functionality, and for the most part the two block
Autodesk VIZ. In order to delete a block or types behave similarly in Autodesk VIZ with some
component, you will have to bind the file, exceptions.
breaking the link. The structure of Architectural Desktop multi-view
• You can only access rendering properties blocks is expressed differently in Autodesk VIZ,
for block components that appear as Linked when compared to AutoCAD blocks. Rather than
Geometry on the Modifier panel. Blocks or peer into the internal structures of multi-view
sub-blocks, that appear as VIZBlocks in the blocks as is done with AutoCAD blocks,
Modify panel, do not have rendering properties Autodesk VIZ relies on the multi-view block’s own
because they are not renderable. ability to draw its own 3D view, much as it does in
the Architectural Desktop Object Viewer. Because
Blocks and Materials of this, you will notice that multi-view blocks never
exhibit nesting in their object structure when they
When assigning a material in Autodesk VIZ to an
are file linked into Autodesk VIZ.
instance of a block or block component, all the
instances of that block or component are assigned Behavior of instanced Architectural Desktop
the same material automatically. This is called multi-view objects is different from that of
automatic material propagation. This feature AutoCAD blocks as well. Multiple instances
helps align Autodesk VIZ behavior with that of of multi-view blocks require more memory in
Architectural Desktop. Autodesk VIZ than multiple instances of AutoCAD
blocks. But multiple instances of multi-view
If you find that a material you’ve assigned to
blocks are better behaved when being cut by live
a block or block component is not what you
section objects than their AutoCAD counterparts.
wanted, you can undo the material assignment by
choosing Edit menu > Undo or pressing CTRL+Z.
Dynamic Blocks
If you undo a material assignment, the undo will
propagate to all instances of the objects to which The File Link Manager handles dynamic blocks
you assigned the material. the same way as other blocks found in a DWG
file. When linked to a scene, the naming for the
Note: When assigning a material to a block or
incoming dynamic block instances are based on
block component, you are not prompted to accept
the original dynamic block definition in the form
or cancel the material propagation. You can only
of Block: block_name where block_name is the
control propagation of materials by toggling
actual name of the dynamic block definition.
Propagate Materials To Instances (page 3–355).
Dynamic block instances, even those that have
For more information about working with
been grip-edited, display certain types of instance
materials and assigning materials to blocks in
behavior such as material propagation, if the
Autodesk VIZ, see the Material Editor, Materials,
setting is activated from the Material Editor
and Mapping (page 2–1025) topic.
Options menu (page 2–1059). Below is a table
showing instance behavior of dynamic blocks.
Blocks 359
Property Behavior The Block

Insert ...
Modifiers Modifiers applied to one component are
applied to the same component in other ... has unique ... has unique ... shows this modifier
instances, but only when those instances parameter parameter behavior upon Reload.
have the same grip property values. values before it values after
was edited. it was edited.
Materials When material propagation is turned
on, materials are applied to all block Yes Yes Modifiers are preserved.
instances. When turned off, materials are
applied only to the current selection set. Yes No Applied modifiers may
be lost, and it may
Note: inherit modifiers from
If you use the Entity, Blocks as Node the instance(s) it now
Hierarchy Derive By setting for drawings matches.
containing dynamic blocks, materials may
propagate to some block instances and not No Yes Applied modifiers are
to others. lost.
Node Changes to node properties are not No No Applied modifiers may

Properties propagated to block instances. be lost, and it may
inherit modifiers from
Transforms (on Transforms, like move, rotate and scale, the instance(s) it now
components) of one component will affect that same matches.
component in other block instance only
when those instances have the same grip
property values. Blocks and Interactive Selection and
Navigation
Keep in mind that elements of a dynamic block
can be turned on and off by certain grip-edit Once blocks and block components are linked
operations depending on the way the dynamic to Autodesk VIZ, you can begin adjusting their
block is defined. When one instance has a materials and properties. In a drawing for a small
component and another doesn’t, instance apartment, blocks are pretty easy to locate because
behaviors cannot occur between them because the drawing is not very congested. You can simply
they are treated as instances of one another. select a block or one of its components in the
viewport and alter it.
Modifier behavior of Dynamic Blocks during a When drawings get very complex, finding the
File Link Reload block or block instance you want can pose a
There is no change in modifier behavior for problem. For example, a common block you might
dynamic blocks that have not been grip-edited add to a drawing is a table. If you’re designing a
between one Reload and the next. All properties corporate headquarters that makes use of several
(materials, modifiers, node properties) are different types of tables, finding the one you
preserved. Dynamic blocks that have been want to change becomes more difficult. There
grip-edited preserve their node name, node are several ways for you to find and select a block
properties, scene-applied transform, and more precisely in Autodesk VIZ.
materials, but may lose applied modifiers and/or • One way is by means of the block’s name.
may inherit modifiers. This table shows the When you link a drawing to Autodesk VIZ,
behavior of modifiers during a File Link Reload file linking creates a name such as Block:
before and after dynamic block editing. ConferenceTable. The first part of the name
identifies the object’s type, Block. The second
part of the name indicates the block name,
ConferenceTable. With this sort of naming All blocks that share the specified name are
breakdown, you can easily find a block using selected.
the Select Objects dialog.
To select blocks by layer:
• Another selection method uses the Layer
or Color setting you made for your block 1. Choose Edit menu > Select By > Layer.
when you created it in Architectural Desktop. 2. Select a block in the scene.
Because layer and color data is also linked to
All the blocks sharing that layer are selected.
Autodesk VIZ, you can select entire groupings
of blocks using Select By Color or Select By To isolate selected objects:
Layer.
1. Using one of the previous selection methods,
• Finally, you can select blocks by the type of select some blocks.
material that’s applied to them. Take care when
2. Choose Tools menu > Isolate Selected.
selecting blocks this way because the material
assigned to the block may also be assigned to All objects are hidden except for the selected
other objects in the scene. blocks. A dialog is displayed, indicating that
Once a block or set of block instances is isolation mode is active.
selected, you can isolate them from the
remainder of the model to work on them more
efficiently. Styles
Styles are sets of parameters that you can assign
To select block by color: to objects in Autodesk Architectural Desktop
1. Choose Edit menu > Select By > Color. to determine their appearance. This means
2. Select a block in the scene.
an Architectural Desktop object references a
style in order to determine certain aspects of
All blocks that share that color are selected. its appearance. For example, a door style in
Architectural Desktop determines the type of
To select blocks by name:
door represented in the drawing, such as single or
1. Choose Edit menu > Select By > Name, or press double hung, bifold or hinged, solid core or glass
the H key to open the Select Objects dialog. pane. You can assign one style to more than one
Alternately, you could use the Selection Floater, object, and you can modify the parameters of that
accessed from the Tools menu. While similar to style to change all the objects that have the same
the Select Objects dialog, the Selection Floater style assigned to them.
is modeless and can remain on-screen while For more information about how to work with
you’re working. styles in Architectural Desktop, refer to the
2. While holding down the CTRL key, select Architectural Desktop Reference.
blocks with common names.
A style is made up of components. Each
You can also enter the block name in the name component defines dimensions and display
field at the top of the dialog. properties per view. For example, the hatch
3. Click Select. pattern defined for component1 in Plan view
can be different from the hatch pattern for the
same component in Model view. Styles are
Styles 361
grouped in categories that mirror the categories of is preparing the scene for presentation to
Architectural Desktop objects. You perform model your clients and rendering. AEC Objects are
management, such as creating and deleting styles made up of components that have default
and style-components in Architectural Desktop, architectural materials assigned through their
and reload the modified scene into Autodesk VIZ styles. Components can be selected from the Select
using the File Link Manager utility (page 3–323). Object dialog (page 1–74) or Selection Floater
and new materials can be assigned or the existing
When a model is linked to Autodesk VIZ from
material can be altered in the Material Editor.
Architectural Desktop, styles play an important
role in assigning render materials and texture For example, a door that is assigned the “Hinged
coordinates to Architectural Desktop object – Single – Full Lite” style is made up of five
components described by style components. components in Architectural Desktop. The
Components of an Architectural Desktop object components are the Frame, Panel, Stop, Glass, and
often have predefined materials in their style Muntins. Each component has a material assigned
definitions. This means that if you have many to it. For instance, the default material assigned
instances of an object in your drawing, you can to the Panel component of this type of door is
quickly replace materials on all the objects without “finish carpentry.wood.mahogany”. If you want to
having to select each instance of the object. change the Panel material in Autodesk VIZ, you
can select the Panel component and drag a new
’Style-based objects’ is a more common term for
material to it from the Material Editor.
Architectural Desktop objects that reference styles.
Because the Panel material is part of the door’s
Limitations of Styles style, your new material will automatically
propagate to any other door in the scene that is
Styles-based Architectural Desktop objects do
assigned the “Hinged – Single – Full Lite” style.
have some limitations when a model is linked to
Autodesk VIZ. Note: If you need to apply a material to individual
objects, or object selections, rather than to all
• Changes to styles and their components
objects of the same style, you can use the command
performed in Autodesk VIZ will not propagate
back into Architectural Desktop.
Propagate Materials To Instances (page 3–355).
• The structure of a style-based object in For more information about working with
Autodesk VIZ cannot be changed. You cannot materials and assigning materials to objects in
add components to or delete them from a Autodesk VIZ, see Materials (page 2–1025).
linked object.
Styles and Interactive Selection and
• Objects on frozen layers in Architectural
Navigation
Desktop will not be displayed when the model
is linked to Autodesk VIZ. Architectural drawings range from simple
details to highly complex floor plans, so finding
Note: This is not the case when Skip All Frozen
different components of a drawing can be difficult.
Layers is turned off in your File Link settings.
Style-based objects from Architectural Desktop
all have styles associated with them. So if you link
Styles and Materials
a drawing to Autodesk VIZ, objects with styles
The primary purpose of linking a model will be associated with them both in Architectural
from Architectural Desktop to Autodesk VIZ Desktop and in Autodesk VIZ. Furthermore, in
Autodesk VIZ, the name of the object will contain 2. Select an object in the scene.
the Architectural Desktop object category name All objects or components that share that layer
(Door, for example), style name (Double Hinged) are selected.
and component name (Panel).
You make most object and component selections To isolate selected objects:
in Autodesk VIZ by selecting objects in the 1. Using one of the previous selection methods,
viewports. However, in complex models where select some objects.
objects and components may be spread across 2. Choose Tools menu > Isolate Selected.
multiple layers or located in congested areas,
style definitions help streamline the selection of All objects are hidden except for the selected
reusable components in a drawing. objects or components. A dialog appears
indicating that isolation mode is active.
Once objects and components are selected, you
can also isolate them from the remainder of the
model to work on them more efficiently.
To select objects or components by color:

Layers
1. Choose Edit menu > Select By > Color.
2. Select an object in the scene.
Using Layers to Organize a Scene
All objects or components that share that color
are selected. Layers are like transparent overlays on which
you organize and group different kinds of scene
To select objects or components by name: information. The objects you create have common
1. Choose Edit menu > Select By > Name, or press properties including color, renderability, and
the H key to open the Select Objects dialog. display. An object can assume these properties
from the layer on which you create it. Using layers
Alternately, you could use the Selection Floater,
makes it easier to manage the information in your
accessed from the Tools menu. While similar to
scenes. Layers are used primarily to control the
the Select Objects dialog, the Selection Floater
visibility of objects in your scene, however they
is modeless and can remain on-screen while
also controls the color of objects’ wireframe and
you’re working.
the frozen (page 1–66) and hidden state of objects,
2. While holding down the CTRL key, select as well as their radiosity properties.
objects or components with common names.
For example, you might want to set up a layer that
You can also enter the object or component will contain detailed, custom furniture. To do this,
name in the name field at the top of the dialog. you create a layer and set Viewport Display to
3. Click Select. Bounding Box. Then you set the object’s display
All objects or components that share the properties to ByLayer (in the Object Properties
specified name are selected. dialog (page 1–107)). This will keep the viewport
display quick. Then, whenever you want to import
To select objects or components by layer: new furniture, switch to this layer. You don’t need
to set up your viewport display every time you
1. Choose Edit menu > Select By > Layer.
import new furniture. Also, if you don’t want to
Using Layers to Organize a Scene 363
render the furniture, you can turn off that layer’s Note: The Hide and Freeze states of an object
Renderable property. cannot be set to ByObject. Objects can be hidden
Note: When you link an AutoCAD file into or frozen on a per-object basis; however, they will
Autodesk VIZ, any layers that are frozen (and always follow the behavior of their layer when it is
all objects that reside on these layers) are not hidden or frozen.
imported.
Special Layer 0
Note: Objects can be hidden and frozen on a
per-object basis; however, an object residing on When you begin a new scene, Autodesk VIZ
a hidden or frozen layer will always adopt the creates a special layer named 0 (default). By
hide/freeze state of its layer. default, objects on layer 0 have their visibility
settings on, renderability is on, and viewport
Tip: If you set lights’ render control to ByLayer (in
display is set. You can’t delete or rename layer 0.
the General panel of the Preferences dialog), you
can use the Render column in the Layer Manager If you haven’t created any layers, Autodesk VIZ
to quickly turn lights on or off in your scene. places objects you create on layer 0 by default.
After you create objects, you can reassign them to
different layers, including those residing on layer 0.
Display Properties
In the Layer Properties dialog (page 3–369), you
can specify layer visibility individually for each
viewport. If you don’t want to display a certain
layer, you can hide that layer. Autodesk VIZ hides
the layer in the viewport, but not in any output
rendered image of the scene.
Note: For hidden geometry to render, Render
Hidden Geometry must be turned on in the
Render Scene dialog > Common Parameters
rollout (page 2–1334).
Layers can help organize the contents of a scene.
You can specify layers to display objects shaded
Layer-Object Relationships (page 3–453), in wireframe mode (page 3–747), as
a bounding box (page 3–663), or as whatever is set
The Layer Manager (page 3–364) displays layers, on the Viewport Properties menu (page 3–453).
as well as their associated objects. This makes it Using this method, you can have different objects
very easy to organize, and make changes to objects displayed differently in the same scene.
in a scene. With the Layer Manager, you can
adjust property settings at either the layer level, or You can display layers in See-Through mode.
individually for each object. Each property can See-Through mode temporarily displays selected
be toggled between various states, including the objects in translucent form so you can see through
ByLayer state (page 3–663). When an object’s them without applying special materials. You can
property is set to ByLayer, the object inherits that toggle See-Through mode for all objects per layer.
setting from the layer it is associated with.
You can also Freeze, Hide, or Isolate the layer of a Objects are organized by layer in the dialog, in
selected object using the corresponding command an expandable list. By clicking ‘+’ or ‘-‘, you can
in the display quadrant of the quad menu. expand or collapse (respectively) the object list for
each layer. You can also sort the layers by clicking
Layer Names any of the column heads.
You can create and name a layer for each Another useful tool is the ability to open
conceptual grouping (such as walls or terrain) the Object Properties dialog or Layer Properties
and assign common properties to those layers. By dialog for one or more highlighted objects or
grouping objects into layers, you can control their layers directly from the Layer Manager by clicking
display and make changes quickly and efficiently. the corresponding icons.
When you name layers, you can use names of
Note: You can change the property settings for
variable length up to 255 characters. These names
each layer or object by clicking the corresponding
can contain letters, digits, blank spaces, and the
icon in the dialog. With each click, the icons
special characters dollar sign ($), hyphen (-), and
cycle through the various states of the property,
underscore (_).
including Off ( ) and By Layer (page 3–663)
Note: Any layers from a linked AutoCAD file ( ), and, in the Render, Color, and Radiosity
are automatically imported to Autodesk VIZ. columns, By Object. When a property is set to By
Autodesk VIZ names the converted layers based Layer, the object inherits the property setting from
on the layer names from the AutoCAD drawing. its associated layer.
See also Procedures

Layer List (page 3–373) To create a new layer:
Layer Manager (page 3–364) When you create new layers, Autodesk VIZ names
them sequentially by default: Layer01, Layer02,
Layer Properties Dialog (page 3–369)
and so on. After creating a layer, you can rename
it. Autodesk VIZ assigns a random color to all
new layers. You can accept the default settings or
Layer Manager specify other colors.
Main toolbar > Layer Manager

1. On the main toolbar, click Layer
Layers toolbar > Layer Manager Manager.
Tools menu > Layer Manager
The Layer Manager, available from the main 2. In the Layer Manager, click Create New
toolbar, is a modeless dialog where you can create Layer.
and delete layers. You can also view and edit the Autodesk VIZ displays a new layer in the list
settings for all of the layers in your scene, as well with the temporary name Layer01.
as the objects associated with them. You can 3. Click the Layer to enter a new name.
specify the name, visibility, renderability, color,
4. To create more than one layer, click New again
and objects’ and layers’ inclusion in the radiosity
solution from this dialog. and enter the new layer name.
Layer Manager 365
Tip: If an existing layer is highlighted when want to view, without editing, objects on other
you create a new layer, the new layer inherits layers. You can’t edit or select objects on a frozen
the properties of the highlighted layer. You layer; however, the objects are still visible if the
can modify the properties of the new layer, layer is on. You can make a frozen layer current,
if necessary, as illustrated in the following and you can add new objects to the frozen layer.
procedures.
To make a layer current:
Manager.
2. In the Layer Manager, select the layers you want
to freeze.
Manager.
3. In the Freeze column, click Off to turn
2. In the Layer Properties dialog, click the
Freeze on for the highlighted layer(s).
second column next to the layer name.
A check box appears indicating that the The Freeze icon displays.
layer is current.
Note: The current layer is also displayed in the Tip: You can freeze all layers by clicking
title bar of the Layer Manager. Freeze/Unfreeze All Layers on the Layer
Manager toolbar.
To make a layer current (alternate method):
• On the Layers toolbar > Layer List, select a layer. To assign a color to a layer:
The highlighted layer becomes the current layer. You can assign a color to a layer using the Layer
Properties dialog. For example, you can assign
To hide a layer: the color red to a layer named HVAC to help you
identify the mechanical equipment in your scene.
1. On the Layers toolbar, click Layer
Manager. 1. On the main toolbar, click Layer
2. In the Layer Manager, select the layers you want Manager.
to hide. 2. In the Layer Manager, select a layer and click
3. In the Hide column, click Off to turn Hide the Color icon.
on for the highlighted layer(s). 3. In the Layer Color dialog, select a color, and
The hide icon displays. then click OK.
To rename a layer:
Tip: You can hide all layers by clicking You might want to rename a layer to better define
Hide/Unhide All Layers on the Layer Manager how it’s used in your scene. You can rename a
toolbar. layer at any time during a Autodesk VIZ session.
However, you can’t rename Layer 0.
To freeze a layer:
Freezing layers is useful when you want to edit 1. On the main toolbar, click Layer
objects associated with particular layers but also Manager.
2. In the Layer Manager, select a layer to rename. Interface

3. Click the layer’s name again and enter a new
name.
To delete a layer:
You can delete an empty layer at any time during a
Autodesk VIZ session. However, you can’t delete
the current layer, Layer 0, or a layer that contains
objects.

Manager.
2. In the Layer Manager, select one or

more layers, and then click Delete Empty Layer.
Title Bar
To open the Object Properties dialog for an object The title bar displays the word ’Layer’, followed
selection: by the name of the current Layer. For example, if
Layer02 is the current layer, the title bar will read
1. On the main toolbar, click Layer Layer: Layer02.
Manager.
2. Select one or more objects in the Layer Layer Manager toolbar
Manager.
3. Click the Object Properties icon to open the Create New Layer—Creates a new layer
Object Properties dialog (page 1–107) for the containing the currently highlighted objects (if
highlighted objects. any).
To open the Layer Properties dialog for a layer The new layer’s name is automatically generated
selection: ("Layer01", "Layer02", etc.) but may be changed
by clicking on the label.
1. On the main toolbar, click Layer Note: The new layer becomes the current layer.
Manager.
2. Select one or more layers in the Layer Manager.
Delete Highlighted Empty Layers—Deletes
3. Click the Layer Properties icon to open the
highlighted layers if they are empty.
Layer Properties dialog (page 3–369) for the
highlighted layers. Note: This button is not available if any of the
following items are in your selection set: nothing,
the current layer, objects, Layer 0, or non-empty
layers.
Layer Manager 367
right-click and choose Highlight All. To open the

Object/Layer Properties dialog, click on the icon
Add Selected Objects to Highlighted next to the layer or object.
Layer—Moves currently selected objects into the
highlighted layer. Each property has a unique icon to indicate that it
is turned on, while all properties share the same
Note: This button is not available if nothing is
icon for the off ( ) and By Layer ( ) states.
selected or if more than one layer is highlighted.
Note: By Layer is available only at the object level,
in the Render, Color, and Radiosity columns.
Select Highlighted Objects and Tip: You can sort the layers by any of their
Layers—Selects all of highlighted objects, as well as properties by clicking the column name.
all objects contained in any highlighted layers.
Layers—Displays the names of the layers/objects.
Note: This button is not available if nothing is Click a name to select the layer, or to rename the
highlighted. layer.
Note: Clicking the layer icon opens the Layer
Properties dialog for all highlighted layers.
Highlight Selected Objects’
Layers—Highlights layers containing the Clicking the object icon opens the Object
currently selected objects and automatically scrolls Properties dialog for all highlighted objects.
so that highlighted layers are visible in the layer
Current Layer Toggle—The unlabeled column
manager.
to the right of the layer name indicates the current
Note: This button is not available if nothing is layer and lets you make a different layer current.
highlighted.
A check mark appears next to the current layer.
Click the check box next to another layer name to
Hide/Unhide All Layers—Toggles the display
make it current.
of all layers. Hide—Hides and unhides layers. When a
Tip: This is most useful if you hide all layers and layer is hidden, it’s invisible. You might want to
then display only the layers you want to work on. hide layers that contain construction or reference
information.
Freeze—Freezes layers. You can’t select or
Freeze/Unfreeze All Layers—Toggles the edit objects on a frozen layer. Freezing a layer is
frozen state of all layers. useful if you want to view information on a layer
Tip: This is most useful if you freeze all layers and for reference but don’t want to edit objects on that
then unfreeze only the layers you want to work on. layer.
Render—When on, objects appear in the
List of layers
rendered scene. Non-rendering objects don’t
Displays layers, their associated objects, and their cast shadows or affect the visual component
properties. To expand or collapse the object list for of the rendered scene. Like dummy objects,
each layer, click ‘+’ or ‘-’, respectively. To modify a non-rendering objects can manipulate other
property, click its icon. To select all layers quickly, objects in the scene.
Shape objects (page 1–234) have the Enable in Layer Manager Right-Click Menu
Renderer option turned on by default. In addition,
they have an Enable in Renderer check box in their
creation parameters. When both check boxes are
on, the shape is renderable. If either check boxes
are off, the shape isn’t renderable. If you apply
a modifier that converts the shape into a mesh
object, such as a Lathe (page 2–142) or Extrude
(page 2–127) modifier, the shape automatically
becomes renderable regardless of the state of its
local Enable in Renderer check box.
For shapes, the Renderable toggle in the Object A standard popup menu is displayed over the
Properties dialog (page 1–107) affects the main Layer Manager by right-clicking anywhere in
object, so it also affects all instances of and the Layer Manager dialog. The menu contains a
references to the shape. variety of layer management and focus operations.
Color—Changes the color associated with the Some of the operations involve highlighted items
highlighted layers. You can select another color or selected objects in your scene. If the right-click
by clicking the color swatch to display either the is on a non-highlighted row, the highlight switches
Object Color dialog (page 1–130) (for objects), or to that row and the subsequent operation applies
the Layer Color dialog (for layers). to the newly highlighted item. If the right-click is
on a highlighted row (or a group of highlighted
You can set an object’s color independently, or rows), all of the highlights are preserved and
turn on ByLayer in the Object Color dialog to use the subsequent operation applies to all of the
the associated layer’s color. highlighted items.
Radiosity—When on, objects are included in Note: To apply an operation to a group of objects or
the radiosity solution (page 2–1350). Objects layers, you must hold CTRL when you right-click.
not included in the radiosity solution do not If you have highlighted a group of objects and
contribute to indirect illumination. If these objects right-click on one of them (without holding
are lights, only their direct contribution will be CTRL), the selection group is cleared and only that
used for rendering. object will be highlighted.
Note: Removing objects from the radiosity solution Rename—Initiates text editing mode for the
can significantly decrease radiosity processing highlighted layer’s name. Unique names are
and rendering time, however it does sacrifice enforced. If a non-unique name is typed in, a
some accuracy in the solution. It can be useful for modal dialog pops up, stating “Invalid Layer
creating quick test renders. Name. Layer names must be unique.”
Note: Rename is available only for layers; objects
cannot be renamed in the Layer Manager.
Likewise, Rename is only available when a single
layer is highlighted.
Cut—Stores references to highlighted objects in
memory so they can be pasted into another layer.
Layer Properties Dialog 369
Cut is only available when objects are highlighted; Highlight All Layers—Highlights all of the layers in
if there are no objects highlighted or if a layer is your scene.
part of a multiple selection, it is not available. Note: This command does not highlight any
Note: Objects are not actually cut from their objects.
assigned layer until they are pasted to another one.
Layer Properties—Opens the Layer Properties
Tip: If you cut a layer, Autodesk VIZ cuts all objects dialog (page 3–369) for the currently highlighted
in the layer. layers.
Paste—Moves cut objects into the highlighted Object Properties—Opens the Object Properties
layer. dialog (page 1–107) for the currently highlighted
Paste is available only when a single layer is objects.
highlighted and one or more objects have been cut.
Collapse All—Closes all expanded layers, hiding Layer Properties Dialog
the object lists.
Main toolbar > Layer Manager > Select one or more
Expand All—Expands all layers, displaying the layers. > Click Layer icon.
objects within each.
The Layer Properties dialog is similar to the Object
Create New Layer—Creates a new layer containing
Properties dialog (page 1–107). Here, you can
any currently selected objects.
change the rendering, motion blur, and display
The new layer becomes the current layer. Its name settings of one or more selected layers. In addition,
is generated automatically ("Layer01", "Layer02", you can also change the advanced lighting settings
etc.) but can be changed by clicking its label. or hide/freeze one or more selected layers.
Delete—Deletes any empty highlighted layer.
Note: This does not delete objects. Likewise, this
command is not available when your selection
includes Layer0, any objects, or any layer
containing objects.
Add Selected Objects—Places objects currently
selected in your scene into the highlighted layer.
Note: This command is available only when a single
layer is highlighted.
Select—Selects all of the currently highlighted
objects or layers in the Layer Manager.
Note: If you use this command on a layer, all objects
in that layer are selected.
Highlight Selected Objects’ Layers—Highlights all
layers that contain objects in the current scene
selection.
Interface Viewport—Displays the objects on the selected

layer using the current settings under Views on the
viewport right-click menu (page 3–453).
Bounding Box—Displays the objects on the selected
layer as a bounding box (page 3–663).
Wireframe—Displays the objects on the selected
layer in wireframe mode (page 3–747).
Shaded—Displays the objects on the selected layer
in Smooth+Highlight mode (page 3–453).
General panel
Layer Information group
Interactivity group
Controls layer information for objects on the
Hide—Hides the selected layer.
selected layer.
Freeze—Freezes the selected layer.
Name—Displays the selected layer name. You
can edit the name. The name can have up to 255
Display Properties group
characters, containing letters, digits, blank spaces,
and the special characters dollar sign ($), hyphen Provides controls that alter the display of objects
(-), and underscore (_). on the selected layer.
Active Color—Displays the color of the selected See-Through—Makes objects on the selected layer
layer. You can select another color by clicking the translucent in viewports. This setting has no effect
color to display the Layer Color dialog, which is on rendering, it simply lets you see what’s behind
identical to the Object Color dialog (page 1–130), an object in a crowded scene, and especially to
except that it doesn’t have the By Layer/By Object adjust the position of objects behind or inside the
toggle. See-Through object.
Display—Controls the display of the objects on the Display As Box—Toggles the display of objects on
selected layer. the selected layers, including 3D objects and 2D
Layer Properties Dialog 371
shapes as bounding boxes (page 3–663). Produces use vertex colors to shade the mesh. When off,
minimum geometric complexity. colors are unshaded.
Backface Cull—For objects on the selected layer,
Rendering Control group
toggles the display of faces with normals (page
3–704) pointing away from view. When on, you Controls rendering settings for objects on the
see through the wireframe to the back faces. selected layer.
Applies only to Wireframe viewport display. Visibility—Controls the rendered visibility of the
Edges Only—For objects on the selected layer, object. At 1.0, the object is fully visible. At 0.0,
toggles the display of face edges. When set, the object is completely invisible when rendered.
only faces appear. When off, all mesh geometry Default=1.0.
appears. Applies only to Wireframe viewport Renderable—Makes objects on the selected layer
display. appear or disappear from the rendered scene. For
Vertex Ticks—Displays the vertices in objects on more information, see Renderable.
the selected layer as tick marks. Note: This has the same functionality as the Render
If the current selection has no displayed tick toggle in the layer list (page 3–373).
marks, the check box is clear. If some of the Inherit Visibility—Causes objects on the selected
vertices in the current selection display tick marks, layer to inherit the visibility of their parents (as
the check box contains a gray X. If all vertices in determined by the parent’s Visibility track in Track
the current selection display tick marks, the check View). When a group parent is assigned a visibility
box contains a black X. track, Inherit Visibility is automatically turned on
Trajectory—Toggles trajectory (page 3–741) for all children in the group. Transparent materials
display for objects on the selected layer. You can and hidden objects have no effect on this function.
display an object’s trajectory wherever you are in Visible to Camera—When on, the object is visible
Autodesk VIZ. to cameras in the scene. When off, cameras do not
Ignore Extents—When turned on, objects on the view this object.
selected layer are ignored when you use the display Visible to Reflection/Refraction—When on, the
control Zoom Extents (page 3–462). object is used in calculating reflections and
Show Frozen in Gray—When on, the object turns refractions. When off, the object does not appear
gray in viewports when you freeze it. When off, in reflections or refractions.
viewports display the object with its usual color or Receive Shadows—When on, objects on the
texture even when it is frozen. selected layer can receive shadows.
Vertex Colors—Affects editable mesh objects (page Cast Shadows—When on, objects on the selected
2–350) on the selected layer. Displays the assigned layer can cast shadows.
vertex colors (page 1–107) in the viewport. You
Apply Atmospherics—When on, atmospheric
assign vertex colors at the vertex or face sub-object
levels. effects are applied to the object. When off
atmospheric effects do not change the rendered
Shaded—Affects editable mesh objects (page appearance of this object.
2–350) on the selected layer. When on, if the
editable mesh has vertex colors, shaded viewports
Render Occluded Objects—Allows special effects Adv. Lighting panel

to affect objects in the scene that are occluded by
this object. The special effects, typically applied
by plug-ins (page 3–716) such as Glow (page
3–7), use G-Buffer (page 3–681) layers to access
occluded objects. Turning on this control makes
the object transparent for the purposes of special
effects. This makes no difference when you render
to most image files. When you render to either
the RLA (page 3–273) or RPF (page 3–274) file
format, however, occluded objects appear with the
effect applied on their designated G-buffer layer.
Motion Blur group

Controls motion blur for objects on the selected
layer. Radiosity Properties group
Multiplier—Affects the length of the motion blur Exclude from Radiosity Processing—When on,
streak. objects on a selected layer are included in the
Enabled—When on, enables motion blur for radiosity solution. Objects not included in the
this object. When off, motion blur is disabled radiosity solution do not contribute to indirect
regardless of the other blur settings. Default=on. illumination. If these objects are lights, their direct
contribution will only be used for rendering.
None—Turns off the state of motion blur for
Note: This has the same functionality as the
objects on the selected layer.
Radiosity toggle in the Layer List.
Object—Object motion blur (page 3–706) provides
Cast Shadows—Determines whether objects on the
a time-slice blur effect for objects on the selected
layer. selected layer will cast shadows.
Receive Illumination—Determines whether objects
Image—Image motion blur (page 3–688) blurs the
image of each object on the selected layer, based on the selected layer will receive illumination.
on the velocity of each pixel. Diffuse (reflective & translucent)—When on, objects
on the selected layer are treated as diffuse (rough)
in the radiosity process.
Specular (reflective & transparent)—When on,
objects on a selected layer are treated as specular
(smooth) in the radiosity process.
Exclude from Regathering—When on, objects on a
selected layer are excluded from the regathering
process of the radiosity solution.
For more information on the Radiosity Properties
group, see Radiosity Control Panel (page 2–1360).
Layer List 373
Object Subdivision Properties group Default=12” for imperial units and 30cm for
metric units.
Use Global Subdivision Settings—When on, the
object’s meshing settings correspond to the global
subdivision settings on the Radiosity Control
Panel. When off, you can change the meshing
Layer List
settings for each object. Default=on.
• Subdivide—When on, a radiosity mesh is
created for the objects regardless of the Layers toolbar > Layer List
global meshing state. The subdivision that is

performed is determined by the Use Adaptive The Layer List, available from the Layers toolbar
Subdivision switch. When off, the settings (page 3–397), displays layer names and their
in the Mesh Settings group are unavailable. properties. You can control the properties of layers
Default=on. by clicking the property icons. You can make a
layer current by simply selecting it from the list.
• Use Adaptive Subdivision—Turns adaptive
subdivision on and off. Default=on. The controls available in the Layer List are a subset
of the controls available in the Layer Manager.
Note: The Mesh Settings group parameters
For more information, see Layer Manager (page
Contrast Threshold, Min Mesh Size, and Initial
3–364).
Mesh Size are available only when Use Adaptive
Subdivision is turned on. Tip: The Layer List is most useful in conjunction
with the other tools available on the Layers toolbar
Mesh Settings group (page 3–397).
Max Mesh Size—The size of the largest faces after
See also
adaptive subdivision. Default=36” for imperial
units and 100cm for metric units. Using Layers to Organize a Scene (page 3–362)
When Use Adaptive Subdivision is turned off, Max
Procedures
Mesh Size sets the size of the radiosity mesh in
world units. To make a layer current:
1. Click Layers toolbar > Layer List to display the
Min Mesh Size—Faces are not divided smaller than
list.
the minimum mesh size. Default=3” for imperial
units and 10cm for metric units. 2. Select the layer you want to make current from
the list.
Contrast Threshold—Faces that have vertex
illuminations that differ by more than the Contrast It is now the current layer.
Threshold settings are subdivided. Default=75.0.
To change the layer of a selected object:
Initial Mesh Size—When improving the face shape,
faces that are smaller than the Initial Mesh Size
list.
are not subdivided. The threshold for deciding
whether a face is poorly shaped also gets larger 2. Select the desired destination layer to make it
as the face size is closer to the Initial Mesh Size. current.
3. On the Layers toolbar, click Add

Selected Objects to Current Layer.
Create New Layer
Layers toolbar > Create New Layer
To change a layer’s properties:
Layers toolbar > Layer Manager > Create New Layer
list.
Create New Layer creates a new layer the layer
2. Click the layer property icon that you want to containing the currently selected objects. The
set. new layer’s name is automatically generated
You can change the following properties from (“Layer01”, “Layer02”, etc.) but may be changed
the layer list: hide/unhide, freeze/unfreeze, in the Layer Manager (page 3–364).
renderable/non-renderable, and color.
3. Click the Layer List again to collapse it.
Add Selection to Current Layer
Interface Layers toolbar > Add Selection to Current Layer
Add Selection to Current Layer moves the current

You can change the following properties from object selection to the current layer.
the layer list: hide/unhide, freeze/unfreeze,
renderable/non-renderable, and color.
Unlike the Layer Manager, where one icon is used Select Objects in Current Layer
for all Off states, the ’Off ’ icons for each property Layers toolbar > Select Objects in Current Layer
on the Layer List are unique.
The following are the On and Off icons for each Select Objects in Current Layer selects all of the
toggled property in the Layer List: objects contained in the current layer.
Property On Off
Hide/Unhide Set Current Layer to Selection’s
(Hidden) (Visible)
Freeze/Unfreeze Layer
(Frozen) (Editable)
Renderable/Non- Layers toolbar > Set Current Layer to Selection’s Layer
Renderable (Renderable) (Non-
renderable)
Set Current Layer to Selection’s Layer changes
the current layer to the layer which contains the
currently selected objects.
Note: This button is not available if your selection
includes objects that reside on different layers.
Isolate Selection’s Layer 375
Isolate Selection’s Layer

Scene States
Tools menu > Isolate Selection’s Layer
Select an object. > Right-click to open the quad menu. >

Display quadrant > Isolate Selection’s Layer Managing Scene States
Tools menu > Manage Scene States
This command isolates the layer of the current
selection, hiding all other layers. To de-isolate the Right-click to open the quad menu. > Display
(upper-right) quadrant > Manage Scene States
layer, choose Unhide all from the quad menu or
use the Layer Manager (page 3–364) to unhide the
The Scene States feature provides a fast way to save
other layers.
different scene conditions with various lighting,
camera, material, environment, and object
properties that can be restored at any time and
Freeze Selection’s Layer rendered to produce numerous interpretations of
Select an object. > Right-click to open the quad menu. > a model. You save and restore scene states with the
Display quadrant > Freeze Selection’s Layer Manage Scene States dialog (page 3–377), which
makes it a convenient way to quickly compare
This command freezes the layer of the current how different parameter settings affect how each
selection. To unfreeze this layer, choose Unfreeze scene looks. Because scene states are saved with
all from the quad menu or use the Layer Manager the MAX file, they are easily accessible to everyone
(page 3–364). on a design team.
Note: You cannot edit or select objects on a frozen
Scene states also allow you to experiment with
layer.
different scene setups without having to save the
entire MAX file each time a change is made. This
means you don’t need to open and close files in
Hide Selection’s Layer order to render different conditions of the same
Select an object. > Right-click to open the quad menu. > model. As well, scene states do not add to the size
Display quadrant > Hide Selection’s Layer of the file.
This command hides the layer of the current When you save a scene state, you can choose which
selection. To display the hidden layer, choose aspects of the scene to record:
Unhide All from the quad menu or use the Layer • Light Properties—Light parameters such as
Manager (page 3–364). color, intensity, and shadow settings are
recorded with the scene for each light or
luminaire.
• Light Transforms—Transforms such as position,
orientation, and scale are recorded for each
light.
• Object Properties—Current Object Properties
values are recorded for each object. This
includes settings for Advanced Lighting and the scene will contain both the omni lights and
mental ray. the free spot light.
• Camera Transforms—Camera transform modes If you decide to add other lights to the scene
such as position, orientation and scale are that you don’t want to render with the existing
recorded for each camera. lights, you need to remember to turn off the
• Camera Properties—Camera parameters such new lights and overwrite any existing scenes
as FOV and depth of field, including any that have Light Properties saved. See Saving
corrections made by the Camera Correction Changes to an Existing Scene State (page
modifier (page 2–1019) are recorded for each 3–378) on how to overwrite an existing scene
camera. state.
• Layer Properties—Records the settings for each • Use descriptive names for scene states. If scene
layer in the Layer Properties dialog at the time state names are too long to see in the dialog,
the scene state is saved. resize the Manage Scene States dialog or use the
scroll bar at the bottom of the dialog.
• Layer Assignment—Records each object’s layer
assignment. If you select individual parts to be saved with a
scene state, it is useful to note in the scene state
• Materials—All materials and material name which parts are recorded.
assignments used in the scene are recorded.
• If the scene contains more than one camera,
• Environment—Records these Environment restore the desired scene state first, then change
(page 3–52) settings: Background, Ambient, the viewport to the desired camera view.
and Tint colors; Global Lighting > Level;
Environment Map; Environment Map on/off Scene State Limitations
state; Exposure Control rollout settings.
• Even though you can select multiple scene
Tips for Managing Scene States states from the Manage Scene State dialog, only
one scene state can be restored at a time.
• When first becoming familiar with scene states,
minimize changes to make it easier to keep • The currently restored scene state name is not
track of what each scene state contains. displayed in the user interface. It’s helpful to
save rendered scenes by their scene state name
• Saving all scene aspects in a scene state allows as a reference.
you more flexibility when restoring. When
you include all the parts of the scene, you can • Materials must be reopened in the Material
choose to restore all or just a few of the aspects Editor after a scene state containing objects
that were originally saved. with material assignments is restored. When
the scene is restored, its materials are copied
• Additions made to a scene after a scene state and replaced on the Scene–In Use palette (page
has been saved affect how the restored scene 3–407).
will render. For example, say you already have
a scene state named Omni that contains omni The originally assigned materials are moved
lights. You then decide to save another scene to the Scene–Unused palette. If you want to
state named Free Spot that contains a free spot make additional changes to the material and
light. When you restore the Omni scene state, the Material Editor is open, you need to click
the material in the Scene–In Use palette. If
Manage Scene States Dialog 377
the Material Editor is not open, right-click the

material in the Scene–In Use palette and then Manage Scene States Dialog
choose Properties.
Tools menu > Manage Scene States
• If part of a scene state is later deleted or hidden,
Right-click to open the quad menu. > Display (upper-right
a warning does not display when the scene state quadrant) > Manage Scene States
is restored indicating that there are missing
parts or that the scene will not be restored as it The Manage Scene States dialog is a modeless
was when originally recorded. dialog where you can select, save, rename, and
• Likewise, if you delete one or more scene states delete scene states (page 3–375).
from the Manage Scene States dialog, you are
not presented with a warning that you are Procedures
about to delete them. However, you can restore To save a scene state:
deleted scene states with Undo.
1. Set up the scene in the viewport.
• Viewport configurations are not saved as part
Tip: It is best to first render the scene to see if it
of the scene state. Therefore, you cannot
is set up the way you want before saving it. If
use scene states to control which viewport is
it isn’t, make the desired changes and render
active or whether viewports are minimized or
again before proceeding to the next step.
maximized.
2. Right-click in a viewport and choose Save
Scene States and Batch Render Scene State from the quad menu.
Scene states do not store viewport layouts, such as 3. In the Save Scene State dialog, highlight the
which camera view is active, so you can use the parts you want saved in the scene state, then
Batch Render tool (page 2–1457) to coordinate enter a descriptive name. For descriptions of
rendering from any camera that is saved with the these parts, see Managing Scene States (page
model. With each camera task that you assign 3–375).
to the batch render tool, you can specify a saved 4. Click the Save button. This saves the scene state
scene state that will be automatically loaded and to the MAX file.
rendered.
To restore a scene state:
See also 1. Right-click in a viewport and choose Restore
Manage Scene States Dialog (page 3–377) Scene State from the quad menu.
2. Choose the scene state to restore from the flyout
Batch Rendering (page 2–1456)
list.
Batch Rendering - Batch Render Dialog (page
3. Highlight the parts you want restored with the
2–1457)
scene state. Only the parts that were originally
saved with the scene state are listed.
4. Click Restore.
The scene state is restored in the viewport.
To rename a scene state: Interface

1. Right-click in a viewport and choose Manage
Scene States from the quad menu.
2. In the scene state list, highlight the scene state
you want to rename.
3. Click the Rename button.
4. In the Rename Scene State dialog, enter a new
name for the scene state.
5. Click OK. The new name is displayed in the
scene state list.
The dialog lists all the scene states that are saved in
To delete a scene state: the MAX file.
1. Right click in a viewport and choose Manage Save—Opens the Save Scene State dialog (page
Scene States from the quad menu. 3–379) where you enter a name for the current
2. In the scene state list, highlight the scene state scene state. To select a continuous range of parts,
you want to delete. drag or SHIFT+click. To select noncontinuous
parts, press CTRL+click.
3. Click the Delete button. The scene state is
deleted from the MAX file. Restore—Opens the Restore Scene State dialog
Note: You can undo to restore the deleted scene (page 3–379) for the selected scene state.
state. Rename—Opens the Rename Scene State dialog
(page 3–380) for the selected scene.
To save changes to an existing scene state:
Delete—Deletes the highlighted scene state(s)
1. In the Manage Scene States dialog, highlight the
without first warning you if you are sure you
scene state you want to overwrite.
want to delete the scene. To select a continuous
2. Click the Save button. range of entries, drag or SHIFT+click. To select
The Scene State Manager displays a message noncontinuous entries, press CTRL+click.
confirming if you want to overwrite the scene Close—Closes the Manage Scene States dialog.
state.
3. Click OK.
Manage Scene States Dialog 379
Save Scene State Restore Scene State
Enter a Scene State name—A text field where you Enter a Scene State name—Displays the scene
enter a descriptive name for the scene state. name that was selected in the Manage Scene States
dialog. Use the drop-down list to select a different
Select Parts—Lists the parts you can save in the
scene state to restore.
scene state. By default, all parts are highlighted
except for Materials and Environment. When you Select Parts—Displays a list of scene parts from
make a different selection set, it is “sticky,” which which you can restore for the scene state. To
means the next time the dialog is displayed, the highlight a continuous range of parts, drag or
parts you highlighted previously are highlighted. SHIFT+click. To highlight noncontinuous parts,
use CTRL+click.
Save—Saves the scene state with the name you
supplied and the parts you selected. The scene Restore—Click to restore the scene state in the
state is saved in the MAX file. active viewport.
Cancel—Closes the dialog without saving the scene Cancel—Closes the dialog without restoring the
state. selected scene state.
Rename Scene State
Enter a Scene State Name—Enter a new name in the

Name field for the highlighted scene state. Click
OK to accept the change or Cancel to close the
dialog without renaming the scene state.
User Interface
Track View (page 2–818)

User Interface
MAXScript Menu (page 3–394)
The Autodesk VIZ user interface provides multiple
ways to achieve the same goals. You can hide, float
(page 3–669) or dock (page 3–669), resize and Additional Keyboard Commands
rearrange the user interface elements into your
own personal design. For more information, see This topic describes some commands that are
Customizing the User Interface (page 3–505). provided only as customizable actions. You can
assign them to a keyboard shortcut, a menu, or
See the topics referenced below for detailed a button by using the Customize User Interface
information on all of the elements of the user dialog (page 3–511).
interface.
See also
See also
Default Keyboard Shortcuts (page 3–601)
Menu Bar (page 3–384)
Unwrap UVW Shortcuts (page 3–611)
Autodesk VIZ Toolbars (page 3–394)
Customize Display Right-Click Menu (page Keyable Property
3–507) Keyable Property Toggle
Quad Menu (page 3–399) Default key: None
Status Bar Controls (page 3–427) In Track View, if you select any track or group of
tracks, this command turns the keyable property
Animation and Time Controls (page 3–440) (page 2–839) on or off. If a selected track is not
Viewports (page 3–451) keyable, its children (sub-animations), if any, are
toggled. For example, if you select a transform
Viewport Controls (page 3–457)
controller track, this command toggles the keyable
Command Panel (page 3–478) property of all position, rotation, and scale tracks.
If you select an object’s track, its transform,
Tool Palettes Set (page 3–403)
parameter, and material tracks are all toggled. If
382 Chapter 17: User Interface
the object is part of a hierarchy, all its child objects’ Viewport Navigation
tracks are also toggled. Pan Viewport
This action can be undone. Default key: I (the letter “i”)
Set Key Pans the active viewport, centering it on the

current location of the cursor.
Clear Set Key Mode Buffer
You can use this shortcut while another command,
Default key: None
such as Move, is active.
While in Set Key mode, if you transform an object
This action can be undone, using SHIFT+Z.
but haven’t yet clicked Set Key, this shortcut
undoes the transformation and restores the
viewport to show the animation that existed before
Toggling Dialogs
the change.
In most cases, you can close a dialog with the same
Another way to accomplish this is to move the time
command used to open it. This applies to any
slider or to turn on Play.
combination of input methods, including menu,
toolbar button, and keyboard shortcuts. For
Transforms
example, you can open the Render Scene dialog
Create Position Lock Key and Create Rotation by choosing Rendering > Render, and then close
Lock Key it by pressing F10 (default keyboard shortcut). If
Default keys: None a dialog is available from a menu, a check mark
appears next to the respective command while it’s
A lock key is a key with Linear interpolation. If you
open.
create the lock key while an existing key is selected,
it changes that key’s interpolation from Smooth If a dialog is minimized, invoking its command
to Linear. (Different types of interpolation are opens the dialog, and invoking it a second time
described in Bezier Controllers (page 2–699).) You closes the dialog.
can create a lock key for position or for rotation.
In addition, the keyboard shortcut CTRL+~
Lock keys are useful when you want an object to (tilde) toggles display of the active dialog.
be stationary, but smooth interpolation is causing
The dialogs affected by this functionality are:
it to "wobble" on its stationary spot.
• Asset Browser
Position to Zero • Clone and Align dialog
Default key: None • Display Floater
Like its counterparts on the Animation quad menu • Environment and Effects dialog
(page 3–402), this shortcut restores the object’s • Grid and Snap Settings dialog
position to the initial “frozen” pose (0,0,0).
• Layer Manager
Note: Position To Zero works only if you have
• Light Lister
previously invoked Freeze Transform or Freeze
Rotation from the Animation quad menu. • Material Editor
• Material/Map Browser (modeless version)
Starting Autodesk VIZ from the Command Line 383
• mental ray Messages Window Switch Effect

• Rename Objects -h Allows choice of graphics drivers: Software,
Open GL, Direct3D, and Custom.
• Render dialog
-i otherfile Starts program using otherfile.ini instead of
• Render to Texture 3dsviz.ini.
• Selection Floater -l Loads the last .max file automatically.
• Spacing Tool -ma Open maximized.
• Transform Type-In -mi Open minimized.

-n Disables network mode.
-p otherfile Starts program using otherfile.ini instead of
Starting Autodesk VIZ from the plugin.ini.
Command Line -q Starts program "quietly," without the splash
screen.
You can start the program from the command line
-u Opens utility.
in a Command Prompt window, or include the
command line in a batch file. There are a number -v Loads a display driver. See details following,
under "Using the V Option."
of switches that you can use on the command line.
Note:
To start Autodesk VIZ from the command line: It is not possible to select which version of
Direct3D you will use with this switch.
1. Open a Command Prompt window.
-z Writes version number to file. See details
2. Change directory to the Autodesk VIZ root following, under "Using the Z Option."
directory, if this directory is not in your PATH anyscene Starts the program and opens a file called
statement. anyscene.max.
3. Type 3dsviz to start the program. Optionally,

A space must separate the program executable
add a command-line switch (see below).
name and the command-line switch.
Command-Line Switches Examples:
You can use the following switches after 3dsviz on 3dsviz l
the command line.
3dsviz i otherfile
Switch Effect
3dsviz anyscene
-c othercui Starts program using othercui.cui instead of
vizstart.cui. 3dsviz c VizCustom
-d Causes Track View to use a double-buffered
display, which is smoother than the See also
single-buffered display but uses more system
resources. Startup Files and Defaults (page 1–16)
-g Makes background white (instead of gray) in Saving and Loading Custom User Interfaces (page
the following dialogs: Track View, RAM Player,
Loft, and Falloff Curve. Useful for screen 3–525)
captures when using a display mode less
than 24 bits deep, for avoiding background Graphics Driver Setup Dialog (page 3–558)
patterns.
Running Scripts from the Command Line (page File Menu (page 3–385)
3–504)
Edit Menu (page 3–385)
Using the -V Option Tools Menu (page 3–385)
You use the -V option to load a different display Group Menu (page 3–386)
driver at startup. This option overrides the setting
Views Menu (page 3–386)
in 3dsviz.ini.
Create Menu (page 3–387)
Follow the -V with one of these letters for the
driver you want to use: Modifiers Menu (page 3–389)
s: Loads the software driver. Animation Menu (page 3–391)
o: Loads the OpenGL driver. Graph Editors Menu (page 3–392)
d: Loads the Direct3D driver. Rendering Menu (page 3–393)
n: Loads a null driver. Customize Menu (page 3–393)
For example, if you ordinarily run OpenGL and MAXScript Menu (page 3–394)
want to switch to the software driver for a session,
Help Menu (page 3–394)
you would type: 3dsviz vs
Interface
Using the -Z Option
When you click a menu name, a number of
If you call product support, the representative
commands are listed below it.
might ask you to run this option to determine the
exact version of your software. This option only As an alternative to using your mouse (or other
writes to a file; it does not start Autodesk VIZ. pointing device), each menu name includes an
underlined character. Pressing that character key
Follow the -Z with a file name:
while holding down the ALT key opens the menu.
3dsviz z id.txt Commands in the open menu usually have an
underlined character as well. While the menu
The file (in this example, id.txt) is written to the
is open, pressing that character key invokes the
Autodesk VIZ root directory.
command.
An ellipsis (…) after a command name indicates a
dialog will appear.
A right-pointing triangle after a command name
Menu Bar indicates that a submenu will appear.
If a command has a keyboard shortcut, the menu
The menu bar is located directly under the main displays it to the right of the command name.
window’s title bar. The title of each menu indicates Menu commands that are on/off toggles use a
the purpose of the commands on the menu. check mark to indicate their status. If a check
Each menu uses standard Microsoft Windows mark is present, the command is active.
conventions.
File Menu 385
Print Viewport (page 3–114)

File Menu
View Image File (page 3–114)
Menu bar > File
Exit (page 3–116)
The File menu contains commands for managing File dialogs (such as Open, Save, Save As)
files. uniformly remember the previous path you used,
and default to that location.
New (page 3–90)
Reset (page 3–91)
Open (page 3–91) Edit Menu
Open from Vault (page 3–93) Menu bar > Edit
Open Recent (page 3–94) The Edit menu contains commands for selecting
Save (page 3–94) and editing objects in a scene.
Save As (page 3–95) Undo/Redo (page 1–89)
Save Copy As (page 3–96) Hold (page 1–91)
Save Selected (page 3–96) Fetch (page 1–91)
File Link Manager Utility (page 3–323) Delete (page 1–91)
XRef Objects (page 3–281) Clone (page 2–6)
XRef Scene (page 3–292) Select All (page 1–82)
Merge (page 3–97) Select None (page 1–82)
Replace (page 3–99) Select Invert (page 1–82)
Import (page 3–100) Select By (page 1–83)
Export (page 3–101) Region (page 1–83)
Export Selected (page 3–101) Edit Named Selection Sets (page 1–88)
Asset Tracking (page 3–102) Object Properties (page 1–107)
Archive > Archive (page 3–110)

Archive > Resource Collector (page 3–127) Tools Menu
Archive > Map/Photometric Path Editor (page Menu bar > Tools
3–123)
The Tools menu displays dialogs that help you
Summary Info (page 3–111) change or manage objects, especially collections of
File Properties (page 3–112) objects, in your Autodesk VIZ scene.
Print Setup (page 3–113) Transform Type-In (page 1–352)

Selection Floater (page 1–76) Group (page 1–98)

Display Floater (page 3–496) Ungroup (page 1–99)
Layer Manager (page 3–364) Open Group (page 1–99)
Light Lister (page 2–924) Close Group (page 1–99)
Managing Scene States (page 3–375) Attach Group (page 1–100)
Mirror (page 1–375) Detach Group (page 1–100)
Array (page 1–376) Explode Group (page 1–100)
Align (page 1–389) Assembly (page 1–100)
Quick Align (page 1–392)
See also
Snapshot (page 1–380)
Using Groups (page 1–92)
Spacing Tool (page 1–381)
Using Assemblies (page 1–93)
Clone and Align (page 1–386)
Normal Align (page 1–392)
Views Menu
Align Camera (page 1–395)
Menu bar > Views
Align to View (page 1–395)
This menu contains commands for setting up and
Place Highlight (page 1–394)
controlling viewports. Some of the commands
Isolate Selection (page 1–69) found on this menu can also be accessed when you
Isolate Selection’s Layer (page 3–375) right-click a viewport label.
Rename Objects (page 1–118) Undo View Change / Redo View Change (page
1–34)
Assign Vertex Colors (page 2–1303)
Save Active View (page 1–35)
Color Clipboard (page 1–135)
Restore Active View (page 1–35)
Camera Match (page 2–1014)
Grids Submenu (page 2–649)
Grab Viewport (page 1–33)
Viewport Background (page 1–36)
Measure Distance (page 2–631)
Update Background Image (page 1–42)
Reset Background Transform (page 1–43)
Group Menu
Show Transform Gizmo (page 1–43)
Menu bar > Group
Show Ghosting (page 1–44)
The Group menu contains functions for grouping Show Key Times (page 1–44)
and ungrouping objects in the scene.
Shade Selected (page 1–45)
Create Menu 387
Show Dependencies (page 1–45) Cylinder (page 1–148)

Create Camera From View (page 1–46) Tube (page 1–150)
Add Default Lights to Scene (page 1–46) Torus (page 1–151)
Redraw All Views (page 1–48) Pyramid (page 1–153)
Activate All Maps (page 1–48) Teapot (page 1–154)
Deactivate All Maps (page 1–48)
Extended Primitives
Update During Spinner Drag (page 1–48) Hedra (page 1–158)
Adaptive Degradation Toggle (page 1–32) Torus Knot (page 1–160)
Object Display Culling (page 1–56) Chamfer Box (page 1–162)
Expert Mode (page 1–48) Chamfer Cylinder (page 1–163)
Note: The following commands, also influencing
Oil Tank (page 1–165)
viewport behavior, are accessed from a different
menu: Capsule (page 1–166)
Viewport Configuration (page 3–585) Spindle (page 1–167)
Units Setup Dialog (page 3–581) L-Extrusion (page 1–169)
Grid and Snap Settings (page 2–654) C-Extrusion (page 1–171)
RingWave (page 1–173)
Create Menu Hose (page 1–176)
Menu bar > Create Prism (page 1–175)
The Create menu provides a way to create some AEC Objects

kinds of geometry, lights, cameras, and helper Foliage (page 1–184)
objects (page 2–631). It is organized into various
submenus. Railing (page 1–188)
Wall (page 1–193)
Interface
Pivot Door (page 1–222)
Standard Primitives
Sliding Door (page 1–223)
Plane (page 1–156)
BiFold Door (page 1–223)
Box (page 1–142)
Straight Stair (page 1–210)
Cone (page 1–143)
L-Type Stair (page 1–203)
Sphere (page 1–145)
U-Type Stair (page 1–214)
GeoSphere (page 1–147)
Spiral Stair (page 1–206)
Awning Window (page 1–228) Ellipse (page 1–245)

Casement Window (page 1–229) Helix (page 1–252)
Fixed Window (page 1–230) NGon (page 1–248)
Pivoted Window (page 1–231) Star (page 1–249)
Sliding Window (page 1–233) Text (page 1–250)
Projected Window (page 1–232) WRectangle (page 1–255)
Channel (page 1–255)
Compound
Scatter (page 1–286) Angle (page 1–257)
Connect (page 1–292) Tee (page 1–259)
ShapeMerge (page 1–296) Wide Flange (page 1–259)
Boolean (page 1–298) Lights

Terrain (page 1–306) Standard Lights >
Loft (page 1–312) Target Spotlight (page 2–928)
Free Spotlight (page 2–930)
Patch Grids
Quad Patch (page 2–347) Target Direct Light (page 2–931)
Tri Patch (page 2–349) Free Direct Light (page 2–933)

Omni (page 2–934)
NURBS
Skylight (page 2–935)
CV Surface (page 2–468)
mr Area Spot (page 2–939)
Point Surface (page 2–466)
mr Area Omni (page 2–938)
CV Curve (page 2–475)
Photometric Lights >
Point Curve (page 2–471)
Target Point (page 2–943)
Shapes Free Point (page 2–944)
Line (page 1–242) Target Linear (page 2–945)
Rectangle (page 1–244) Free Linear (page 2–946)
Section (page 1–253) Target Area (page 2–947)
Arc (page 1–246) Free Area (page 2–948)
Circle (page 1–244) IES Sun Light (Photometric) (page 2–949)
Donut (page 1–247) IES Sky Light (Photometric) (page 2–951)
Modifiers Menu 389
Presets (page 2–942) Sound (page 3–243)

Daylight System (page 1–335) TimeSensor (page 3–247)
Sunlight System (page 1–335) TouchSensor (page 3–246)
Cameras Systems
Free Camera (page 2–999) Daylight System (page 1–335)
Target Camera (page 2–1000) Sunlight System (page 1–335)
Create Camera From View (page 1–46)
Helpers
Modifiers Menu
Dummy (page 2–631) Menu bar > Modifiers
Point (page 2–638) The Modifiers menu provides a way to apply

Grid (page 2–635) frequently used modifiers quickly. It is organized
into submenus. The availability of items on
Tape Measure (page 2–639) this menu depends on the current selection. If
Protractor (page 2–641) a modifier doesn’t apply to currently selected
objects, it is unavailable in the menu.
Compass (page 2–642)
Camera Point (page 2–1018) See also
Atmospherics > Modify Panel (page 3–480)
Box Gizmo (page 3–84) Modifier Stack Controls (page 3–481)
Cylinder Gizmo (page 3–85) List of Available Modifiers (page 2–27)
Sphere Gizmo (page 3–87) Interface

VRML 97 > Selection Modifiers
Anchor (page 3–240) Mesh Select (page 2–151)
Audio Clip (page 3–249) Poly Select (page 2–179)
Background (page 3–248) Patch Select (page 2–172)
Billboard (page 3–250) Spline Select (page 2–201)
Fog (page 3–243) Volume Select (page 2–303)
Inline (page 3–251) Patch/Spline Editing
LOD (page 3–245) Edit Patch (page 2–74)
NavInfo (page 3–242) Edit Spline (page 2–126)
ProxSensor (page 3–241)
Cross Section (page 2–63) PathDeform (page 2–176)

Surface (page 2–212) PathDeform (WSM) (page 2–47)
Delete Patch (page 2–67) UV Coordinates
Delete Spline (page 2–67) UVW Map (page 2–274)
Lathe (page 2–142) UVW XForm (page 2–285)
Normalize Spline (page 2–168) Map Scaler (WSM) (page 2–46)
Fillet/Chamfer (page 2–134) Unwrap UVW (page 2–247)
Trim/Extend (page 2–235) Camera Map (WSM) (page 2–41)
Renderable Spline (page 2–188) Camera Map (page 2–60)
Sweep (page 2–218) Subdivision Surfaces
Mesh Editing TurboSmooth (page 2–237)
Cap Holes (page 2–62) MeshSmooth (page 2–153)
Delete Mesh (page 2–66) HSDS Modifier (page 2–136)
Edit Mesh (page 2–74) Free Form Deformers
Extrude (page 2–127) FFD 2x2x2 (page 2–129)
Face Extrude (page 2–128) FFD 3x3x3 (page 2–129)
MultiRes (page 2–160) FFD 4x4x4 (page 2–129)
Normal Modifier (page 2–167) FFD Box (page 2–132)
Optimize (page 2–170) FFD Cylinder (page 2–132)
Smooth (page 2–199) Parametric Deformers
STL Check (page 2–204) Bend (page 2–53)
Tessellate (page 2–234) Taper (page 2–232)
Conversion Twist (page 2–245)
Turn to Mesh (page 2–240) Noise (page 2–164)
Turn to Patch (page 2–241) Stretch (page 2–206)
Turn to Poly (page 2–243) Squeeze (page 2–202)
Animation Modifiers Push (page 2–185)
PatchDeform (page 2–175) Relax (page 2–186)
PatchDeform (WSM) (page 2–47) Ripple (page 2–189)
Animation Menu 391
Wave (page 2–307)

Animation Menu
Skew (page 2–195)
Menu bar > Animation
Slice (page 2–196)
Shell (page 2–191) The Animation menu provides a set of commands
related to animation, constraints and controllers,
Spherify (page 2–200)
and inverse-kinematics solvers.
Affect Region (page 2–52)
Also present here are controls for parameter
Lattice (page 2–144) wiring, as well as for creating, viewing, and
renaming animation previews.
Mirror (page 2–159)
Displace (page 2–69) Interface
XForm (page 2–309) IK Solvers
Preserve (page 2–182) HD Solver (page 2–786)
Surface Constraints
Material (page 2–148) Attachment Constraint (page 2–741)
Material by Element (page 2–149) Surface Constraint (page 2–743)
Disp Approx (page 2–68) Path Constraint (page 2–745)
Displace Mesh (WSM) (page 2–42) Position Constraint (page 2–748)
NURBS Editing Link Constraint (page 2–750)
Surface Select (page 2–169) LookAt Constraint (page 2–753)
SurfDeform (page 2–218) Orientation Constraint (page 2–756)
SurfDeform (WSM) (page 2–51) Transform Controllers
DispApprox (page 2–68) Link Constraint (page 2–750)
Radiosity Modifiers Position/Rotation/Scale (page 2–723)
Subdivide (WSM) (page 2–50) Script (page 2–731)
Subdivide (page 2–209) Position Controllers
Cameras Audio (page 2–698)
Camera Correction (page 2–1019) Bezier (page 2–699)
Linear (page 2–715)
Noise (page 2–164)
Quaternion (TCB) (page 2–728)
Script (page 2–725) Toggle Limits—Toggles all Limit controllers

(page 2–709) in the current scene. If all Limit
XYZ (page 2–722)
controllers are off, Toggle Limits turns them on,
Attachment Constraint (page 2–741) and if all are on, it turns them off. If some are on
and the rest are off, Toggle Limits turns them all
Path Constraint (page 2–745)
on.
Position Constraint (page 2–748)
Surface Constraint (page 2–743)
Make Preview (page 2–1451)
Rotation Controllers
View Preview (page 2–1453)
Audio (page 2–698)
Rename Preview (page 2–1453)
Euler XYZ (page 2–707)
Delete Selected Animation
Linear (page 2–715)
Noise (page 2–720)
Graph Editors Menu
Quaterion (TCB) (page 2–728)
Menu bar > Graph Editors
Script (page 2–725)
Smooth (page 2–728) The Graph Editors menu gives you access to
LookAt Constraint (page 2–753) graphic sub-windows for managing a scene and its
hierarchies and animation.
Orientation Constraint (page 2–756)
Scale Controllers Interface
Audio (page 2–698) Track View – Curve Editor (page 2–826)
Bezier (page 2–699) Track View – Dope Sheet (page 2–826)
Linear (page 2–715) New Track View (page 2–901)
Noise (page 2–720) Delete Track View (page 2–901)
Quaternion (TCB) (page 2–728) Saved Track Views (page 2–902)
Script (page 2–725) New Schematic View (page 3–314)
XYZ (page 2–724) Delete Schematic View (page 3–314)
Wire Parameters
Saved Schematic Views (page 3–314)
Wire Parameters (page 2–758)

Parameter Wire Dialog (page 2–759)
Walkthrough Assistant (page 2–1020)
Rendering Menu 393
Load Custom UI Scheme (page 3–527)

Rendering Menu
Save Custom UI Scheme (page 3–527)
Menu bar > Rendering
Revert to Startup Layout (page 3–529)
The Rendering menu contains commands for Custom UI and Defaults Switcher (page 3–509)
rendering scenes, setting up environmental and
Show UI (page 3–508)
render effects, and accessing the RAM Player.
Lock UI Layout (page 3–508)
Render (page 2–1316)
Configure Paths (page 3–529)
Environment (page 3–52)
Units Setup (page 3–581)
Effects (page 3–3)
Grid and Snap Settings (page 2–654)
Advanced Lighting >
• Radiosity (page 2–1360) Viewport Configuration (page 3–585)
• Exposure Control (page 3–73) Plug-In Manager (page 3–508)

• Lighting Analysis (page 2–1376) Preferences (page 3–536)
Render to Texture (page 2–1437) You can create a custom user interface layout,
including custom keyboard shortcuts, colors,
Batch Render (page 2–1457)
menus, and quad menus. You can load or save all
Raytracer Settings (page 2–1151) of these things individually in the Customize User
Interface dialog, or you can load or save all of them
Raytrace Global Include/Exclude (page 2–1154)
at once, using schemes. Schemes allow you to load
mental ray Message Window (page 2–1386) all customized features of the UI at one time.
Material Editor (page 2–1039) You can hide, float or dock (page 3–669), resize,
and rearrange some UI elements into your
Material/Map Browser (page 2–1042)
own personal design. You can also lock the UI
Show Last Rendering (page 2–1331) once you’ve got it set. Tools are provided in the
Panorama Exporter (page 2–1453) Customize menu to load and save these custom UI
files, or to revert to the startup user interface.
Print Size Wizard (page 2–1331)
System preferences such as keyboard shortcuts,
RAM Player (page 3–278) viewport configuration, units setup, grid and snap
settings, and many important default settings, are
also on the Customize menu.
Customize Menu Tip: You can access many of these commands
Menu bar > Customize with keyboard shortcuts or right-click options.
For example, you can display the Grid and
The Customize menu contains commands for Snap Settings dialog by right-clicking the Snaps
customizing the Autodesk VIZ user interface (UI). buttons on the main toolbar; you can display the
Viewport Configuration dialog by right-clicking
Customize User Interface (page 3–511) the viewport label, and then choosing Configure.
License Borrowing—If you’re running

MAXScript Menu Autodesk VIZ under a network license,
you can use this submenu to borrow or return
Menu bar > MAXScript
a license. For details, see the Autodesk License
Utilities panel > MAXScript Borrowing Utility help, which is available as the
file adsk_brw.chm, installed in the \program
This menu contains commands for working with files\common files\autodesk shared\enu folder on
scripts you create with the software’s built-in your local drive (typically, drive C:).
scripting language, MAXScript (page 1–xiv).
About Autodesk VIZ (page 3–628)
New Script (page 3–501)
Open Script (page 3–502)
Run Script (page 3–502)
MAXScript Listener (page 3–502) Toolbars
Macro Recorder (page 3–503) Many of the commands in Autodesk VIZ are
available as buttons on a toolbar. By default, three
Visual MAXScript Editor (page 3–503) toolbars are displayed: the main toolbar (page
MAXScript Debugger Dialog (page 3–503) 3–395), the Layers (page 3–397) toolbar and the
extras (page 3–397) toolbar. By default, the main
There is also a MAXScript Mini Listener (page toolbar is docked at the top of the interface and the
3–428) on the status bar (page 3–427). layers and extras toolbars float over the viewport.
For detailed information about the MAXScript You can, however, place them wherever you want.
utility, open the MAXScript Reference, available See Customizing the User Interface (page 3–505)
from Help menu > MAXScript Reference. for more information.
One other toolbar (Axis Constraints (page 3–396))
is hidden by default. To turn it on, right-click
Help Menu the main toolbar and choose the toolbar’s name
Menu bar > Help from the list. You can use this method to turn any
toolbar on or off.
The Help menu provides access to the See Customize Display Right-Click Menu (page
Autodesk VIZ online reference systems. 3–507) for more information.
User Reference (page 3–627)
See also
MAXScript Reference (page 3–627)
Main Toolbar (page 3–395)
Tutorials (page 3–627)
Axis Constraints Toolbar (page 3–396)
Additional Help (page 3–628)
Layers Toolbar (page 3–397)
Autodesk VIZ on the Web (page 3–628)
Extras Toolbar (page 3–397)
Activate Autodesk VIZ (page 3–628)
Render Shortcuts Toolbar (page 3–397)
Main Toolbar 395
Snaps Toolbar (page 3–398)
Main Toolbar
The main toolbar in its “floating” form.
The main toolbar provides quick access to tools Selection Region Flyout (page 1–76)
and dialogs for many of the most common tasks
in Autodesk VIZ. Window/Crossing Selection Toggle (page
Note: Right-clicking the move, rotate, or scale 1–85)
buttons opens the Transform Type-In dialog (page
1–352). Select and Move (page 1–360)
Undo (page 1–90) Select and Rotate (page 1–360)
Redo (page 1–90)
Select and Link (page 2–768)

Select and Scale Flyout (page 1–361)
Unlink Selection (page 2–769)
Reference Coordinate System (page

1–364)
Selection Filter List (page 1–80)
Select Object (page 1–73)

Use Center Flyout (page 1–366)
Select By Name Button (page 1–74)
Select And Manipulate (page 2–643)
2D Snap, 2.5D Snap, 3D Snap (page 2–651)
Angle Snap Toggle (page 2–653)
Percent Snap Toggle (page 2–653) Render Type (page 2–1326)
Spinner Snap Toggle (page 2–653) Quick Render (page 2–1330)
Edit Named Selection Sets (page 1–88)

Axis Constraints Toolbar
Right-click unused area of any toolbar > Axis Constraints
Named Selection Sets

(page 1–81)
Mirror (page 1–375)

The axis constraint buttons and flyouts appear on
the Axis Constraints toolbar.
Note: The default UI does not display this toolbar:
to see it, right-click an empty portion of any
toolbar, and choose Axis Constraints from the
menu.
Align Flyout (page 1–388)
Restrict To X (page 1–368)
Layer Manager (page 3–364)
Restrict To Y (page 1–369)
Curve Editor (Open) (page 2–826)
Restrict To Z (page 1–369)
Schematic View (Open) (page 3–300)
Start Content Browser (page 3–124)

Restrict to Plane flyout: (page 1–370)
Tool Palettes (page 3–403)
Restrict To XY Plane (page 1–370)
Material Editor (page 2–1039)
Restrict To YZ Plane (page 1–371)
Render Scene Dialog (page 2–1316)
Restrict To ZX Plane (page 1–371)
Layers Toolbar 397
Snaps Use Axis Constraints Toggle (page Extras Toolbar

2–662)
Layers Toolbar
The Extras toolbar contains several miscellaneous
Right-click any toolbar > Layers tools for working with your Autodesk VIZ scene.
Keyboard Shortcut Override Toggle (page

3–602)
The Layers toolbar simplifies interaction with AutoGrid (page 2–623)

the layer system in Autodesk VIZ, allowing you
to easily organize the layers in your scene. Most
of these operations are available from the Layer
Manager (page 3–364), however the Layers toolbar
provides shortcuts to several common actions, as
well as the advantage of being able to work directly Array Flyout (page 1–374)
in the viewports.
Preset Rendering Options (page 2–1330)
The Layers toolbar provides the following controls:
Layer Manager (page 3–364) Render Shortcuts Toolbar

Right-click the unused (gray) portion of the main toolbar
Layer List or another toolbar. > Render Shortcuts
(page 3–373)
The Render Shortcuts toolbar lets you assign
Create New Layer (page 3–374) settings to three custom preset buttons. You can
then use these buttons to switch among various
Add Selection to Current Layer (page 3–374) render presets.
Select Objects in Current Layer (page 3–374) Procedures

To define the presets for a button:
Set Current Layer to Selection’s Layer (page
1. Choose one of the default shortcuts from the
3–374)
Presets drop-down list, or use Load to load the
See also presets from an RPS file.
The Select Preset Categories dialog appears.
Using Layers to Organize a Scene (page 3–362)
See Preset Rendering Options (page 2–1330).
2. Choose the categories you want, and then click
Save.
The preset render settings are now active.
3. SHIFT+click the button you want to define. This list is the same as the one that appears at the
Autodesk VIZ assigns the presets to the file that bottom of the Render Scene dialog (page 2–1316).
corresponds to the button: a.rps, b.rps, or c.rps.
To use a saved preset: Snaps Toolbar

1. Click one of the buttons you defined. Right-click unused area of any toolbar. > Snaps
The button’s name appears in the field above
the drop-down list: “a,” “b,” or “c.” The Snaps toolbar provides access to the most
common Snaps settings.
If the button has not yet been defined, clicking
it has no effect, and no name appears in the
preset field.
2. On the main toolbar, click Quick Render. To toggle display of the Snaps toolbar, right-click
The scene is rendered using the presets you an empty area of the main toolbar, such as the
chose. section under the Reference Coordinate System
drop-down, and choose Snaps. For details on the
Interface button functions, see Standard Snaps (page 2–656)
and Snap Options (page 2–660).
Right-Click Menu for Scripted

Toolbar Buttons
Render Preset Slot A, B, and C—Click a button to
make its presets active. Any toolbar > Right-click a button that is implemented by
a script. > Pop-up button menu
If you haven’t assigned presets to a button, clicking
it has no effect. If presets are assigned, then after When you right-click a toolbar button that is
you click the button, its name appears in the field implemented by a macro script, a pop-up menu
above the drop-down list: “a,” “b,” or “c.” appears.
After assignment, each button has its own render
preset (RPS) file: a.rps, b.rps, and c.rps. These
are saved in the \renderpresets folder below the
Autodesk VIZ root directory. The active preset
status is not saved with the MAX scene, but it is
saved in the 3dsmax.ini file.
Render Presets drop-down list—Lets you choose Edit Button Appearance—Displays the Edit Macro
from among a set of preset rendering parameters, Button dialog, which lets you change the button’s
or load or save rendering parameter settings. See appearance and its tooltip. This is documented
Preset Rendering Options (page 2–1330). in the MAXScript Reference: see Customizing
MacroScript Buttons.
Quad Menu 399
Delete Button—Deletes the button from the you may have selected in the Quads panel of the
toolbar. Customize UI dialog. The menus are set up to
Note: There is no Undo for Delete Button, although display only the commands that are available for
Customize > Revert To Startup Layout will restore the current selection; therefore, selecting different
the toolbar to its original appearance. types of objects displays different commands
in the quadrants. Consequently, if no object is
Edit Macro Script—Opens a MAXScript Editor selected, all of the object-specific commands will
window, which lets you edit the button’s script. be hidden. If all of the commands for one quadrant
Customize—Opens the Toolbars panel (page are hidden, the quadrant will not be displayed.
3–513) of the Customize User Interface dialog, Cascading menus display submenus in the same
which lets you customize the contents of the manner as a right-click menu. The menu item that
current toolbar (or any other toolbar). contains submenus is highlighted when expanded.
The submenus are highlighted when you move the
mouse cursor over them.
Some of the selections in the quad menu have
a small icon next to them in the quad menu.
Quad Menu Clicking this icon opens a dialog where you can set
When you click the right mouse button anywhere parameters for the command.
in an active viewport, except on the viewport label
To close the menu, right-click anywhere on the
(see Viewport Right-Click Menu (page 3–453)),
screen or move the mouse cursor away from the
a quad menu is displayed at the location of the
menu and click the left mouse button. To reselect
mouse cursor. The quad menu can display up
the last selected command, click in the title of the
to four quadrant areas with various commands.
quadrant of the last menu item. The last menu
These commands can be customized on the
item selected is highlighted when the quadrant is
Quads panel (page 3–515) of the Customize User
displayed.
Interface dialog (page 3–511).
There are additional, specialized quad menus
The quad menu allows you to find and activate
available when you press any combination of
most commands without having to travel back
SHIFT, CTRL, or ALT while right-clicking in any
and forth between the viewport and rollouts on
standard viewport. For more information, see
the command panel.
Additional Quad Menus (page 3–401).
The two right quadrants of the default quad menu
display generic commands, which are shared Interface
between all objects. The two left quadrants
The following are the default commands for the
contain context-specific commands, such as mesh
right-click menu. You can add, edit, or remove
tools and light commands. Each of these menus
any of these commands in the Quads panel (page
provides convenient access to functions found in
3–515) of the Customize User Interface dialog.
the command panel. You can also repeat your
last quad menu command by clicking the title of
the quadrant.
The quad menu contents depend on what is
selected, as well as any customization options
You can open the Transform Type-In (page 1–352)

by clicking the icon to the right of Rotate on this
menu.
Scale—Lets you scale objects. This is the same
as clicking Select And Scale (page 1–361) on the
main toolbar. If one of the other Select And Scale
flyout (page 1–361) buttons is active on the main
toolbar, that tool becomes active when you click
Scale on the quad menu.
You can open the Transform Type-In (page 1–352)
by clicking the icon to the right of Scale on this
menu.
Select—Lets you select objects.
Clone—Lets you clone objects. This is the same as

choosing Clone (page 2–6) from the Edit menu.
Clone and Align—Couples the ability to clone
objects with alignment functionality. This is the
same as choosing Clone and Align (page 1–386)
from the Edit menu.
Note: Blocks inserted in Architectural Desktop
automatically appear in Autodesk VIZ as instances.
In order to make these unique, you must first bind
the file.
Default quad menu for an editable mesh object at the
Properties—Opens the Object Properties dialog
Vertex sub-object level
(page 1–107) for a selected object. This command
Transform quadrant is available only if an object is selected when you
open the quad menu.
These options are available from the Transform
quadrant: Curve Editor—Opens and displays the selected
object at the top of the Track View Hierarchy. This
Move—Lets you move objects. This is the same command is visible only if an object is selected
as clicking Select And Move (page 1–360) on the when you open the quad menu.
main toolbar.
Dope Sheet—Opens and displays the Dope Sheet
You can open the Transform Type-In (page 1–352) (page 2–826).
by clicking the icon to the right of Move on this
menu. Wire Parameters—Starts a wire parameter (page
2–758) from the selected object. This command
Rotate—Lets you rotate objects. This is the same is available only if an object is selected when you
as clicking Select And Rotate (page 1–360) on the open the quad menu.
main toolbar.
Additional Quad Menus 401
Convert To—This submenu lets you convert the Hide Selection’s Layer—Hides the layer of the
selected object to an editable mesh (page 2–350), selected object.
an editable patch (page 2–316), an editable spline
Save Scene State—Opens the Save Scene State
(page 1–261), a NURBS surface (page 2–465), or
dialog where you enter a name for the current
an editable poly (page 2–377). This command is
scene and select the options you want saved with
available only if an object is selected when you
the scene.
open the quad menu.
Manage Scene States—Opens the Manage Scene
Display quadrant States dialog. This is a modeless dialog where
These options are available from the Display you can select, save, restore, rename, and delete
quadrant: scene states. See Manage Scene States Dialog (page
3–377).
Isolate Selection—The Isolate Selection tool (page
1–69) lets you edit your selection while hiding the Tools quadrants
rest of the scene.
The two quadrants on the left side of the default
Tip: You can use this successively to dig into a large quad menu are called Tools 1 and Tools 2. These
selection set. quadrants contain commands specific to various
Isolate Selection’s Layer—Isolates the layer of the geometries and modifiers such as: lights, editable
selected object. geometries, and cameras. These quadrants are
not displayed unless one of the corresponding
Unfreeze All—Unfreezes all frozen objects. geometries or modifiers are selected when the
Freeze Selection—Freezes the selected objects. quad menu is opened.
Frozen objects are visible in the viewports, but
cannot be manipulated.
Additional Quad Menus
Freeze Selection’s Layer—Freezes the layer of the
selected object. Several specialized quad menus are available when
you press any combination of SHIFT, CTRL, or
Unhide by Name—Displays a dialog you use to ALT while right-clicking any standard viewport.
hide objects you choose from a list. See Select
Objects Dialog (page 1–74), which describes More quad menus are available if you hold down
nearly identical controls. any combination of SHIFT, CTRL, or ALT when
you right-click a viewport. Some of these menus
Note: You cannot unhide an object on a hidden
have default commands, and some of them are
layer. If you select and object on a hidden layer, a
empty.
dialog will prompt you to unhide the layer first.
You can create or edit any of these menus from the
Unhide All—Unhides all hidden objects.
quad set list in the Quads panel (page 3–515), on
Hide Unselected—Hides all visible objects that are the Customize User Interface dialog; however, they
not selected. Hidden objects still exist in the scene, cannot be deleted.
but do not appear in the viewports or in rendered
These are the additional quad menus and their
images.
default settings:
Hide Selection—Hides the selected objects.
Unwrap UVW—Appears when you right-click an See also

Edit UVWs dialog. This menu provides quick
Additional Keyboard Commands (page 3–381)
access to many of the commonly used UVW
actions.
Interface
Track View Key—Appears when you right-click
any Track View dialog. This menu provides quick
access to common key actions, such as Move, Add,
Scale, and Reduce Keys.
SHIFT+right-click—Provides access to snap options
and settings. See Grid and Snap Settings dialog
(page 2–654).
ALT+right-click—Provides several animation tools,
letting you set the coordinate system and set key
frames.
Coordinates quadrant
CTRL+right-click—Provides several modeling tools
that let you create and edit many geometries, Lets you change the active reference coordinate
including standard primitives and editable system (page 1–364).
geometries.
Set quadrant
SHIFT+CTRL+right-click—Available for assignment.
Keyframe—Sets a key at the current frame. Set Key
Use the Quads panel to customize it.
or Auto Key do not need to be on.
CTRL+ALT+right-click—Provides several lighting
Show Trajectories Toggle—Toggles the display of
and rendering commands. The default actions
let you create and edit lights, render your scene,
trajectories (page 2–691).
render effects, and environmental effects. Delete Selected Animation—Deletes any existing
animation keys for all selected objects, as well as
SHIFT+CTRL+ALT+right-click—Available for
any sub-object animation. Each object remains
assignment. Use the Customize menu >
in its state at the frame in which you use this
Customize User Interface > Quads panel to
command.
customize this menu.
There is also a Track View quad menu (page Transform quadrant
2–846) that appears only while you are using Track
Commands in this quadrant are meant primarily
View.
as aids to character animation. Use the Freeze
commands to set the character’s initial pose. Then
you can later use the “to Zero” options to return
Animation Quad Menu to that initial pose.
ALT+right-click a viewport. > Animation quad menu Freeze Transform—Sets the object’s transform
values to zero without actually moving the object.
The ALT+right-click quad menu has commands
to assist in animation. Freeze Rotation—Sets the object’s rotation value to
zero without actually moving the object.
Tool Palettes Set 403
Transform to Zero—Transforms the object back to

the zero pose established by Freeze Transform.
Transform To Zero works only if you have
previously invoked Freeze Transform or Freeze
Rotation.
Note: There is also a Position To Zero command,
which returns the object to the zero position only
(no rotation). You can use Position To Zero by
creating a keyboard shortcut for it. See Additional
Keyboard Commands (page 3–381).
Rotation to Zero—Transforms the object back to
the zero rotation established by Freeze Rotation.
Anatomy of a Tool Palettes Set:
Rotation To Zero works only if you have previously A1 – Tool Palettes Set (Hidden)
invoked Freeze Transform or Freeze Rotation. A2 – Tool Palettes Set (Open)
B – Tool Palette (Active)
C – Tool Palette (Inactive)
D – Scrollbar
E – Tool
Tool Palettes F – Enable/Disable Auto-Hide
G – Properties
H – Refresh (only for linked tool palettes)
Tool Palettes Set
You can also create your own palettes and
Main toolbar > Tool Palettes button customize them with the tools that are required
for your project. As with all palettes, you can
The Tool Palettes Set simplifies the user workflow export customized palettes for sharing with team
in Autodesk VIZ by providing a convenient way members. Palettes and tools can also be stored and
to access commonly used tools. It is a floating shared in the Content Browser (page 3–124).
window that is organized into tabbed palettes that
A wide range of default tool palettes are provided
you can add, remove, rename, or rearrange. The
with Autodesk VIZ; these palettes contain tools
items on a palette are called tools. A tool can be a
that are organized into three types:
camera, light, luminaire, standard or architectural
material, or a studio. • Material tools: made up of material definitions
and instances.
• Macro tools: provide support for lights and
cameras.
• Package tools: comprise luminaires and
studios.
In its default state, the Tool Palettes Set is displayed
as a floating vertical bar. To display the palettes
that are in the current palette set, click the title

bar. The Tool Palettes Set automatically closes New Palette
when you activate another area of the program. To
Main toolbar > Tool Palettes button > Right-click palette
change this behavior, click the Auto-Hide button title bar. > New Palette
at the bottom of the title bar, or right-click the title
bar and choose Auto-Hide. You can create and customize new palettes by
copying and pasting tools from other palettes and
You can switch among different palette sets by
the Content Browser (page 3–124). Palettes you
right-clicking the Properties button at the bottom
customize can contain commonly used tools or
of the Tool Palettes title bar and choosing a palette
tools that are necessary for a particular project.
from the menu.
As with other palettes, these can be shared with
You can move and resize the Tool Palettes Set. members of a project team.
When the palette is shortened and the active
palette contains tools that are hidden, a scroll bar Procedures
is displayed adjacent to the title bar. To access To create a new palette:
palette tabs that are hidden when the Tool Palettes
Set is in a shortened state, right-click over the area 1. Right-click the title bar of the Tool Palettes Set.
where the tabs overlap to display a menu listing of 2. Choose New Palette.
all palettes in the current set. The new palette is created. You can, if you like,
If you drag the Tool Palettes Set to the left or change its name immediately by typing the new
right edge of the screen, it reverses its direction. name and pressing ENTER.
The title bar moves to the opposite side so that Note: You can also create a new palette from
the palettes remain visible. With most display the Tool Palettes Panel (page 3–520) in the
configurations, you can’t drag the title bar off the Customize User Interface dialog (page 3–511).
edge of the screen.
To copy or move tools from other palettes to a new
See also palette:
Material Palettes (page 3–405) 1. Open the palette from which you want to select
tools.
Lighting and Cameras Palettes (page 3–412)
2. Select the tool you want. To select multiple
Studio and Luminaire Palettes (page 3–415) tools, use the CTRL or SHIFT keys.
Tool Palette Right-Click Menus and Dialogs (page 3. Right-click on the tool or selection set and
3–420) select Copy from the menu.
Content Browser 4. Open the New Palette.
5. Right-click on an empty area and select Paste
from the menu.
See also:
Content Browser Utility (page 3–124)
Material Palettes 405
The material palettes contain a subset of the

Materials in Tool Palettes materials available in the Content Browser (page
3–124).
Two dynamic palettes are included with each
Material Palettes palette set: Scene-In Use and Scene-Unused
(page 3–407). These two palettes keep track of
Main toolbar > Tool Palettes button > Concrete tab
the materials used in the scene and those that
Main toolbar > Tool Palettes button > Doors / Windows have been used but are not currently assigned to
tab
any objects. Because these palettes are managed
Main toolbar > Tool Palettes button > Fabrics tab by Autodesk VIZ they cannot be customized,
Main toolbar > Tool Palettes button > Finishes tab removed or renamed.
Main toolbar > Tool Palettes button > Flooring tab The Tool Palettes Set is populated by these material
palettes:
Main toolbar > Tool Palettes button > Gloss tab
• Concrete (page 3–405)
Main toolbar > Tool Palettes button > Masonry tab
• Doors / Windows (page 3–405)
Main toolbar > Tool Palettes button > Metal tab
• Fabrics (page 3–406)
Main toolbar > Tool Palettes button > Paint tab
• Finishes (page 3–406)
Main toolbar > Tool Palettes button > Plastic tab
• Flooring (page 3–406)
Main toolbar > Tool Palettes button > Rubber tab
• Gloss (page 3–406)
Main toolbar > Tool Palettes button > Wood tab
• Masonry (page 3–406)
The tool palettes that contain materials in • Metal (page 3–406)
Autodesk VIZ are very similar to the Materials
• Paint (page 3–406)
Palette in Autodesk Architectural Desktop and
VIZ Render. Each palette contains commonly • Plastic (page 3–406)
used architectural and standard materials that are • Rubber (page 3–406)
organized into categories, such as concrete, metal, • Wood (page 3–406)
wood, plastic, etc.
Because most of these material tools are Concrete Palette
Architectural materials (page 2–1157), they The Concrete palette contains precast and
provide the greatest degree of realism when used cast-in-place concrete materials.
in scenes that contain photometric lights (page
2–941) and radiosity (page 2–1350). They are Doors / Windows Palette
texture-mapped materials that take advantage of
real-world scaling. The Doors / Windows palette contains door and
window materials that are specifically designed to
Some of the materials are the Standard material be used with Doors (page 1–217) and Windows
(page 2–1093) type. These have also been included (page 1–224) objects. This palette contains tinted,
with Autodesk VIZ to augment the collection of frosted, and mirrored glass, door hardware, metal
Architectural materials. and wood door and frame materials.
Fabrics Palette Rubber Palette

The Fabrics palette contains an variety of materials The Rubber palette contains several materials you
you can use for window treatments, upholstery or can use for tire treads or other rubber objects.
clothing.
Wood Palette
Finishes Palette The Wood palette contains architectural
The Finishes palette contains several materials woodwork, finish carpentry and masonite
used for ceilings or walls. materials.
Flooring Palette Procedures

The Flooring palette contains an assortment of To apply a material to an object, drag it from the
carpeting and hardwood materials commonly palette to the object. As you drag, a tooltip appears
used as floor finishes. over each object beneath the cursor, showing the
object’s name. You can apply the material whether
Gloss Palette the object is selected or not. Release the mouse
button to apply the material. Applying a material
The Gloss palette contains basic materials that
overrides any previous material assignment the
have various finishes such as high-gloss varnish
object may have had. An object can have only one
or low-luster satinwax.
material applied to it at a time.
Masonry Palette The Undo command (page 1–90) works for
The Masonry palette contains materials that material assignments.
include brick, slate, stone, travertine, soapstone, Tip: If you need to apply a material to individual
and others. objects, or object selections, rather than to all
instances of the same object, you can turn off the
Metal Palette Propagate Materials to Instances switch (page
The Metal palette contains materials that includes
3–355) on the Options menu of the Material
Editor.
chrome, steel, pewter, copper, stainless steel,
corrugated metals, and others.
To assign a material to an object:
Paint Palette 1. Open the palette that contains the material you
want.
The Paint palette contains basic materials with
characteristics ranging from flat to high-gloss 2. Click and drag the material to an object in the
finishes. scene.
3. Release to assign the material to the object.
Plastic Palette Tip: As an alternate method, you can first select the
The Plastic palette contains an assortment of object in the scene, and right-click on the material
materials that have plastic qualities. to display its right-click menu. Select the Apply
To Selected option.
Scene-In Use and Scene-Unused Palettes 407
To modify a material on a palette:

Although you cannot directly modify a material
Scene-In Use and Scene-Unused
tool that is on a material palette, you can use the Palettes
Scene-Unused palette and Material Editor to make Main toolbar > Tool Palettes button > Scene–In Use tab
a copy of the material that you can modify and
Main toolbar > Tool Palettes button > Scene–Unused tab
then place on a palette.
1. Right-click the material on a palette, then select The Scene–In Use and Scene–Unused palettes
Copy. keep track of the materials that are used and
2. On the Scene-Unused palette (page 3–407), unused in a scene, and are automatically included
right-click on an empty area and select Paste. with any palette group. Autodesk VIZ manages
these two palettes; you cannot remove or rename
3. Right-click on the material, and then select
them. These palettes are dynamic; the software
Properties.
automatically updates the content on each palette
The Material Editor displays the material as hot as you edit and assign materials.
(page 3–686) in a sample slot.
The Scene–In Use palette contains the materials
Note: If the number of sample windows in the
used in the current scene. The exception is for
Material Editor is less than 6 x 4, you may have
files that are externally referenced; the materials
to use the vertical and horizontal sliders to view
assigned to objects in an XRef do not appear
the material.
in the palettes. The material thumbnail is a
4. Make the desired changes to the material. representation of the material as it appears in
Tip: In order to avoid confusion that can arise the Material Editor. The Scene–Unused palette
from having different materials with the same contains copies of materials that were previously
name, rename the new scene material’s name. used in the scene.
5. On the Scene-Unused palette, right-click the For example, let’s say you have a wall in the scene
material and select Cut. that has been assigned a brick material. The
6. Select the palette to which you want the material
software places a copy of that brick material on the
copied. Scene–In Use palette. Suppose you then replace
the brick material with a wood material from
A modified copy of the original material is another palette. A copy of the wood material is
placed on the palette and is available in future placed on the Scene–In Use and the previous brick
design sessions. material is moved to the Scene Unused palette.
If you don’t like how the wood material looks,
See also you can quickly drag the brick material from the
Scene–In Use and Scene–Unused Palettes (page Scene–Unused palette back onto the wall.
3–407) Note: For a material to appear on the Scene-Unused
Unsupported Materials/Maps in the Tool Palettes palette, it must have been replaced by a different
(page 3–410) material from a tool palette. If you assign a
different material to an object from the Material
Adding Content to a Tool Catalog Editor, the replaced material does not appear on
the Scene-Unused palette.
Scene–In Use Palette Materials material has been assigned, it is transferred to the
Scene–In Use palette and the red lock is removed.
The material thumbnails on the Scene–In Use
palette contain symbols that indicate how many
times the material has been assigned or if it not Thumbnails on the Scene–Unused palettes
supported. that have a pair of yellow arrows indicate that
these materials were once applied to objects
that have been deleted from the scene, or the
The number shown on the material
materials were applied to objects that now have a
thumbnail indicates how many times it has been
different material assignment. These materials are
assigned. For example, if the thumbnail displays
considered recycled and can be reused as long as
5, it means that material has been assigned to five
they remain on the Scene–Unused palette.
different objects in the scene.
You can remove recycled materials from the
Scene–Unused palette by clicking the Empty
When a material is assigned to more than
Recycled button or by choosing Delete or Cut from
99 objects, a dot displays on the thumbnail.
the right-click menu. Clicking Empty Recycled
removes all recycled materials; deleting or cutting
When a thumbnail has a yellow triangle, it removes only highlighted items.
indicates the material is not a fully supported type. When scenes containing materials were saved
Supported materials are Standard, Architectural, in a scene state (page 3–375) and then later
Composite, Multi/Sub-Object, and Raytrace. restored, clones of those materials appear on the
Unsupported materials and maps are listed Scene–Unused palette. The same material may
in gray. For a complete list, see Unsupported appear multiple times on the palette depending
Materials/Maps in the Tool Palettes (page 3–410). on the number of times the saved scene state
You can also see which materials, maps, and containing the material is restored.
shaders are unsupported in tool palettes by
opening the Material/Map Browser (page 2–1042) Warning: Recycled materials on the Scene–Unused
and turning on Incompatible and select Palettes. palette are not saved with the scene. If you want to use
one of these materials in a future session, copy or cut it
and then paste it to another palette.
Scene–Unused Palette Materials
Several different symbols are displayed on the Procedures
material thumbnails on the Scene–Unused palette
To apply materials from the Scene–In Use and
that indicate if the material has not been applied, Scene–Unused palettes:
or that it’s recycled or unsupported.
• Select the material you want to use from either
Scene palette and drag it to an object.
You can also create new architectural Alternatively, you can first select an object or
materials from the Scene–Unused palette. Newly objects, right-click the material thumbnail,
created materials created by using the Create and then choose Apply to Selected from the
New button are designated by a red lock symbol right-click menu.
that displays in the material thumbnail. Once a
Scene-In Use and Scene-Unused Palettes 409
To see objects that have been assigned a material: panel, and will disappear at the end of your
1. On the Scene–In Use palette, right-click the Autodesk VIZ session unless you move them
material thumbnail. to another palette.
2. From the menu, choose Select Objects. 5. Make any desired changes to the material.
Objects in the scene with that material assigned The material thumbnail on the Scene–Unused
are selected. palette is updated.
Tip: If it doesn’t update, right-click the material
To create an architectural material on the and select Refresh Thumbnail.
Scene–Unused palette:
6. Drag the material to an object in the scene.
1. Click the Create New button at the top of After the material is assigned, it is transferred
the palette. to the Scene–In Use palette.
2. From the New submenu, select a material
To save a material to a palette:
template.
1. Right-click the material you have modified or
A new material with that template’s settings is
created in the Tool palette, and choose Copy.
placed on the palette. The red lock symbol on
the material thumbnail indicates the material 2. Select the palette into which you want to place
has not been used in the scene. the material.
The preset material templates available on this For example, if you created a material with a
menu are the same as those on the Architectural wood grain texture map, you might want to
material Templates rollout. A template is simply save it on the Wood Plastics palette.
a set of preset material parameters, which 3. Right-click in an empty area of the palette, and
approximates the kind of material you want to choose Paste.
create, and gives you a starting point. Once you
The material is added to the palette, and will be
choose a template, you can adjust its settings
available in future design sessions.
and add maps to enhance realism and improve
the material’s appearance. Tip: You can organize materials into groups
within a single palette by adding separator bars
3. Right-click the material and select Properties.
and text labels from the palette right-click menu
The material is displayed in a sample slot in and then reordering the icons themselves by
the Material Editor. If the Material Editor draggng and dropping them to new locations
is not currently open, clicking Properties in the palette. You can also use the right-click
automatically opens the Material Editor. menu to sort palette items by name or type.
4. In the Material Editor, give the material a new
name in the Name field. To modify material properties from the Scene
palettes:
Tip: Skipping this step can lead to later
1. To make changes to a material, right-click on
confusion. If the name is not changed, and you
the material thumbnail and select Properties.
apply the material to objects in the scene, the
changed material replaces all scene materials The Material Editor opens and displays the
that have the same name. The replaced material in a sample slot.
materials are moved to the Scene–Unused 2. Make changes to the material.
The material thumbnail on the Scene palette palettes. You can also see which materials are
is updated and objects in the scene that unsupported in the Material/Map Browser. For
are assigned this material are automatically more information, see Show Group (page 2–1047).
updated. Note: Unsupported materials cannot be copied or
Note: If the material thumbnail is not updated, dragged into the Content Browser (page 3–124).
right-click on the image and select Refresh
Material Types
Thumbnail.
Advanced Lighting Override
To delete materials from the Scene–Unused palette:
Blend
• To remove all the unused materials from DGS Material (physics_phen)
the palette, click the Empty Recycled button. Double Sided
• To remove highlighted materials, use the SHIFT Glass (physics_phen)
or CTRL keys to select multiple materials, then
click the Empty Recycled button. Lightscape Mtl
Note: This only removes the recycled materials. Matte/Shadow
Materials with a red lock icon and unsupported mental ray
materials remain in the Scene–Unused palette until
Shell Material
you apply them to an object in the scene, you move
them to another palette or you exit Autodesk VIZ.
Shellac
See Also SSS Fast Material (mi)
Material Palettes (page 3–405) SSS Fast Skin Material (mi)

SSS Fast Skin Material+Displace (mi)
Unsupported Materials/Maps in the Tool Palettes
(page 3–410) SSS Physical Material (mi)
Top/Bottom
Content Browser Utility (page 3–124)
Maps
Unsupported Materials/Maps in
3D Displacement (3dsmax)
the Tool Palettes
Ambient/Reflective Occlusion (base)
Some types of materials, maps and shaders are
Bump (3dsmax)
unsupported in the tool palettes. The materials
that are unsupported or contain unsupported Camera Map Per Pixel
maps/shaders are indicated by a yellow triangle on

the material thumbnail. Combustion
DGS material (3dsmax)
Dielectric (base)
Dielectric Material (3dsmax)
The following tables list the materials, maps
and shaders that are not supported in the tool Environment (3dsmax)
Unsupported Materials/Maps in the Tool Palettes 411
Maps Shaders
Environment (3dsmax) Beam (lume)

Light Infinite (base) Combi (contour)
Light Point (base) Contour Composite (contour)
Light Spot (base) Contour Contrast Function Levels (contour)
Material to Shader
Contour Only (contour)
Opacity (base)
Depth Fade (contour)
Parti Volume (physics)
Distortion (lume)
Parti Volume Photon (physics)
Facade (lume)
Photon Basic (base)
Factor Color (contour)
Reflect (base)
Glass (lume)
Refract (base)
Glow (lume)
Shader List (Environment)
Landscape (lume)
Shader List (Lens)
Metal (lume)
Shader List (Output)
Mist (lume)
Shader List (Photon Volume)
Night (lume)
Shader List (Shadow)
Ocean (lume)
Shader List (Texture)
Stain (lume)
Shader List (Volume)
Submerge (lume)
Shadow Transparency (base)
Submerge (lume)
SSS Physical Shader (mi)
Translucency (lume)
Texture Remap (base)
Water Surface (lume)
Texture Rotate (base)
Water Surface Shadow (lume)
Texture Wave (base)
Wet-Dry Mixer (lume)
Transmat (physics)
WrapAround (lume)
Transmat Photon (physics)
Transparency (base)
Two-Sided (base)
UV Coordinate (3dsmax)
UV Generator (3dsmax)
XYZ Coordinate (3dsmax)
XYZ Generator (3dsmax)
If you know the height at which an incandescent

Lighting and Cameras light needs to be placed in the scene, you can set
the height along the Z axis through the Customize
Palettes Heights dialog (page 3–413).
Main toolbar > Tool Palettes button > Incandescent tab The Incandescent palette contains preset generic
Main toolbar > Tool Palettes button > Fluorescent tab lights set to an incandescent color and halogen
lights set to a halogen color.
Main toolbar > Tool Palettes button > Low-Pressure
Sodium tab
When you drag an incandescent tool into the
Main toolbar > Tool Palettes button > High Intensity scene, you have the option to specify the Z height
Discharge tab
of the light before you place it. The Customize
Main toolbar > Tool Palettes button > Cameras tab Heights dialog (page 3–413) is accessible from the
right-click menu of each camera.
The Lighting and Cameras palettes are populated
by tools that are classified as macro tools. These Fluorescent Palette
types of tools rely on MAXScript programming The Fluorescent palette contains free point and
for setting the characteristics of light sources, like linear light tools that are often used in scenes that
light type and brightness, or cameras, such as simulate an office or other commercial setting.
camera type and field of view.
The lighting palettes containing tools of this type Low-Pressure Sodium Palette
are: The Low-Pressure Sodium palette contains light
• Incandescent (page 3–412) tools or LPS tools that are photometric free lights.
• Fluorescent (page 3–412) LPS lights are primarily used in scenes that require
lighting for parking lots, roadways, tunnels, and
• Low-Pressure Sodium (page 3–412) industrial settings.
• High Intensity Discharge (page 3–412)
Note: There are also two luminaire palettes that can High Intensity Discharge Palette
be considered lighting palettes, but the tools found The High Intensity Discharge palette contains
on them are built differently and are described in lights tools or HID tools useful for lighting scenes
Studio and Luminaire Palettes (page 3–415). that require street or parking lot floodlighting,
The Cameras palette (page 3–412) provides access or scenes that simulate industrial or commercial
to two camera tools: free camera and target settings, gymnasiums and rooms with high
camera. ceilings, as well as retail merchandise displays.
Incandescent Palette Cameras Palette
The Incandescent palette contains nine The Cameras palette contains two types of
photometric lights that have preset configurations. cameras: free (page 2–999) and target (page
All nine lights are free point lights that are preset 2–1000).
with Isotropic Light Distribution (page 2–953). The default parameters set for a free camera or
target camera when dragged from the Cameras
palette are the same as the creation parameters
Customize Heights Dialog 413
used when these cameras are added to the scene 2. Right-click in a viewport to end the command.
from the Create panel. 3. Rotate and move the camera to adjust the point
If you drag a camera into the scene from the of view.
Cameras palette, you have the option to specify 4. Change the viewport to a Camera viewport.
the Z height of the camera before you place it.
The Customize Heights dialog (page 3–413) is To set the Z height of an incandescent light or
accessible from the right-click menu of each camera:
camera. When you set a Z height for an incandescent
light or camera, it applies to all the tools on the
Procedures Incandescent, Fluorescent, Low-Pressure Sodium,
To add a lighting fixture into a scene: High Intensity Discharge, and Cameras palettes.
You can add a lighting fixture using one of four 1. Right-click on a light or camera tool and select
methods: Active Height.
• Drag the luminaire tool from the palette and 2. Select a preset height from the flyout list. To
drop it into a viewport. specify a custom height, see Customize Heights
• CTRL+drag and select File Open to create a
Dialog (page 3–413).
luminaire into a new scene.
See also
• CTRL+drag and select Merge File to merge a
luminaire into an existing scene. Customize Heights Dialog (page 3–413)
• CTRL+drag and select Xref File to xref a
luminaire into an existing scene.
To create an incandescent light in a scene:

Customize Heights Dialog
1. Select the incandescent tool you want, then
drag and click to place in the viewport . Main toolbar > Tool Palettes button > Cameras tab >
Right-click a camera tool > Active Heights > Customize
2. Continue clicking in the viewport to place
additional lights in the scene or right-click or Main toolbar > Tool Palettes button > Fluorescent,
Incandescent, Low Pressure Sodium, High Intensity
press ESCAPE to end. Discharge tab > Right-click a camera tool > Active Heights
> Customize
Once you ended the command, you can make
changes to the lights’ parameters on the Modify The Custom Heights dialog allows you create
panel. custom heights along the Z axis for camera and
light tools. You can also set a preset height that
To create a camera in a scene:
is used globally when adding lights and cameras
1. Select the camera tool you want, and click the from palettes.
viewport location where you want the camera
to be. Autodesk VIZ maintains separate height lists for
each display unit type: Metric, US Standard, and
The kind of viewport you click determines the Custom. For example, if your display is configured
free camera’s initial direction. for Metric units and you make changes to the
Set the creation parameters. height list, those changes are retained only for
Metric units. If you then set the display unit Interface

settings to US Standard, the Metric height list is
not converted to the US Standard heights.
Note: You cannot preset Z heights for the ERCO
and Simes luminaires.
Procedures
To create a custom Z height for a camera or light tool:
1. In the Customize Heights dialog, enter a value
in the Height field, and then press ENTER to
activate the Add Height button.
2. Click Add Height.
3. Click OK.
The custom height is now available on the
Active Height flyout list of heights.
To make a height current for all camera and light

tools:
1. In the Customize Heights dialog, select a height
from the list.
2. Click Set Current. Display Units—Displays the current unit settings as
set in the Units Setup dialog (page 3–581).
3. Click OK.
All light and camera tools are now preset with Height field—Allows you to enter a custom camera
the selected height. height along the Z axis. In other words, where
the tool is positioned above or below the ground
• Selecting a height from the Active Height flyout
plane.
list also sets that selected height as the preset
height for all light and camera tools. Height list—Lists heights that are available by
default and user-defined values.
Add Height—Adds the height entered in the Units
field to the Height list.
Set Current—Sets the selected height as the preset
for all incandescent light and camera tools.
Delete—Deletes the select height from the Height
list. It also removes the height from the Active
Height flyout.
Studio and Luminaire Palettes 415
The Studios palette contains eight pre-set

Studio and Luminaires environments. Unlike the Material Studios, these
studios do not have pre-assigned materials, which
Palettes means you can experiment with materials from
the material palettes (page 3–416), Material Editor
(page 2–1039) or Content Browser (page 3–124).
Studio and Luminaire Palettes
The Material Studios palette contains 12 different
Main toolbar > Tool Palettes button > ERCO Luminaires pre-set environments that have pre-assigned
tab
materials. These studios offer a variety of material
Main toolbar > Tool Palettes button > Simes Luminaires combinations and once added to the scene, their
tab
materials can be accessed from the Scene–In Use
Main toolbar > Tool Palettes button > Studios tab palette (page 3–407).
Main toolbar > Tool Palettes button > Material Studios tab
Studio Tips
Both Studio and Luminaire palettes contain tools • Before merging or linking your model into a
that are considered package tools because if the studio, it’s good practice to note the size of the
way they are constructed. They are composed of incoming model. If your model is quite large,
3D geometry that incorporates material, lighting like an entire building, you will want to scale
and/or camera features, in the case of studios and the studio so your model will comfortably fit
material studios, or 3D geometry with references inside.
to photometric data files (IES files) that specify
• To change the scale of the studio, select all the
how light is distributed, such as luminaires.
objects and use the Select and Uniform Scale
Studios tool (page 1–361). It’s important to select all
the objects, including lights and cameras so as
Studios are pre-built ’stages’ you can drag into you scale the studio, the distances of lights and
a scene. Studios cut down the time you might cameras to their targets are also scaled.
spend setting up a backdrop, lights, cameras,
• Merge or link your model or part assembly into
and materials. They give you a ready-made
the scene after you have set up the studio.
environment into which you can place other
Autodesk VIZ models or use the File Link Manager • If using Studios, not Material Studios, assign
(page 3–323) to link models built with Autodesk materials from the material palettes to the
AutoCAD, Architectural Desktop, Mechanical structural elements, such as the dome, floor,
Desktop, Inventor or Revit. walls, and ground. Test render the studio to
check for photo-realism before adding your
The Tool Palettes Set contains two sets of studios: model. This way the test rendering is more
Studios (page 3–418) and Material Studios (page compact and is rendered faster. Once the studio
3–416). Most studios are 25’ x 25’ x 25’ in size is set to your liking, your primary focus can be
while a few are more definite, like the acre and on the model you’re placing in the studio.
half acre material studios. Both palettes contain
studios that are pre-lit and include at least one Luminaires
camera. You can change the placement and other
parameters if you want different views or lighting. While technically, luminaires are lighting tools,
their structure places them in a separate category.
The two luminaires palettes provide an easy and

convenient access to lighting fixtures made by
ERCO and Simes. These lighting fixtures are a • 3 Walled Studio–Brick: A
combination of 3D geometry and luminaires that three-walled enclosure that has a fire brick
are grouped as assemblies (page 1–93). You can texture map applied to the walls. A masonry
select the precise lighting fixture you want to use texture map is applied to the floor. A sphere on
in your project from the palette and open, merge a pedestal is placed in the center to the room.
or xref it into your scene. Three omni lights and two target cameras are
The ERCO and Simes Luminaire palettes contain a included.
wide variety of lighting fixtures manufactured by
each company including spotlights, flood lights,
wall washers and many more. • 3 Walled Studio–CMU: A
three-walled enclosure that has a concrete
See also masonry units of sandblasted grey masonry
texture map applied to the walls. A blue-green
Studios Palette (page 3–418)
soapstone masonry texture map is applied to
Material Studios Palette (page 3–416) the floor. A sphere on a pedestal is placed in the
center to the room. Three omni lights and two
Luminaire Palettes (page 3–419)
target cameras are included.
Material Studios Palette

• 3 Walled Studio–Frosted: A
Main toolbar > Tool Palettes button > Material Studios tab three-walled enclosure that has a frosted glass
material applied to the walls. A sandblasted tan
The Material Studios palette contains a number masonry texture map is applied to the floor. A
environments in the form of “finished” stages. sphere on a pedestal is placed in the center to
They differ from the tools on the Studios palette the room. Included are three omni lights and
because materials have been assigned to all the two target cameras.
structural elements. They’re designed to provide a
ready-made scene to which you can simply merge
or link your model and render.
• 3 Walled Studio–Mirrors: A
Most material studios are 25’ x 25’ x 25’ in size. The three-walled enclosure that has a mirrored
exception are the acre and half-acre grass studios. material applied to the walls and ground plane.
The materials in these studios use real-world scale A sphere on a pedestal is placed in the center to
and do not require additional tweaking. Feel free the room. Included are three omni lights and
to experiment using other materials with these two target cameras.
studios.
These material studios are available:
• 3 Walled Studio–Side Mirrors: A
three-walled enclosure that has a mirrored
material assigned to the side walls and a black
Material Studios Palette 417
and white checkered floor. A sphere on a

pedestal is placed in the center to the room.
Included are three omni lights and two target • Studio–Acre–Grass: This studio
cameras. consists of a one square acre ground plane
with a grass texture map assignment. The
interior of a hemisphere is mapped with a sky
• 3 Walled Studio–Siding: A texture map that looks like a clouded sky when
three-walled enclosure where each wall has rendered. Included are two omni lights and a
a different siding material. A berber carpet target camera.
material is applied to the ground plane. A
sphere on a pedestal is placed in the center to
the room. Included are three omni lights and • Studio–Half Acre–Grass: This
two target cameras. studio consists of a half acre square ground
plane that has a grass texture map assignment.
The interior of a hemisphere is mapped with a
• 3 Walled Studio–Standing Seam: sky texture map that looks like a clouded sky
This studio contains three walls that have when rendered. Included are two omni lights
a corrugated standing seam material. The and a target camera.
ground plane has an ashlar stone material. A
sphere on a pedestal is placed in the center to
the room. Included are four omni lights and • Studio–Infinite Wall: This studio is
two target cameras. designed to place objects inside a chamfered
box that has no sharp corners or edges giving
the illusion the space is infinite. A white
• 3 Walled Studio–Water: This high-gloss paint map is mapped to the interior
three-walled studio contains a shiny, reflective of the box. Included are two omni lights and
material applied to the walls, and a multi a target camera.
sub-object material that looks like water when
rendered. A sphere on a pedestal is placed in Procedure
the center to the room. Included are four omni To create a scene using a material studio:
lights and two target cameras.
• Drag the material studio tool from the palette
and click in a viewport for placement.
• CTRL+drag and select File Open to open the
• 3 Walled Studio–White Paint: This selected material studio a new scene.
three-walled enclosure has a high-gloss paint
material applied to the walls and floor. A sphere • CTRL+drag and select Merge File to merge a
on a pedestal is placed in the center to the material studio into an existing scene.
room. Included are three omni lights and two • CTRL+drag and select Xref File to xref a
target cameras. material studio into an existing scene.
Note: Materials assigned to objects in a model by an omni light that is preset to generate
that is externally referenced do not appear in shadows and use global settings. A target
the palettes. camera is positioned to view the center of the
inside the domed area. The face normals of
If you use the Drag method, or open the material
the dome are inverted so if you apply a texture
studio using Merge File or Xref File, you need to
mapped material, the mapping is visible from
manually change a viewport to a Camera viewport.
the camera.
If you use the Open File method, the studio is
displayed in four viewports, including one or two
Camera viewports, depending on the material • Studio – Ground – 1 Wall: This
studio. studio contains a ground plane and one wall. A
Tip: If you want to modify the studios, they are target camera with a 35mm lens is aimed at the
installed inc:\program files\autodesk viz 2006\ base of the wall, and an omni light is located
default catalogs\tool catalogs\studios\material overhead and centered over the floor.
studios folder. Make the desired changes and save
them using the same file name and location.
You can also access studios from the Studio • Studio – Ground – 2 Walls: This
Catalog found in the Content Browser (page studio contains two walls positioned at a 90
3–124). degree angle to each other and a ground plane.
An omni light is placed overhead near the edge
See also where the two walls meet. Two target cameras,
one with a 35mm lens and the other with a
Studios Palette (page 3–418) 43.456mm lens are placed off the floor and
focused on the corner where the walls and floor
meet.
Studios Palette
Main toolbar > Tool Palettes button > Studios tab
• Studio – Ground – 3 Walls: This
The Studios palette in the Tool Palettes window studio contains three walls and a ground plane.
contains different prebuilt “stages” that you can An omni light is placed directly overhead. Two
easily drag and drop into a viewport to create a target cameras, one with a 35mm lens and one
scene. Depending on the scene you select, you can with a 43.456mm lens, are placed above the
create a ready-made scene that has a floor, walls, walls; each focused on one of the side walls.
reference objects, lights and cameras.
Most studios are 25’ x 25’ x 25’ in size. The
exceptions are the dome and photoshoot studios. • Studio – Ground – 4 Walls: This
studio contains four walls and a ground plane
to create an enclosed space. An omni light
is placed overhead. One target camera with
• Studio – Dome: This scene contains a 35mm lens is focused on the corner of the
a dome structure that measures 45’ in diameter studio where the walls meet the floor; the
and 22’6” high. The dome is lit from within
Luminaire Palettes 419
second target camera with a 43.456mm lens model or objects in the scene already and want to
views the outside of the four wall structure. merge a studio. Choose Xref File if you want to
compile a scene of separate elements.
• Studio – Ground – 4 Walls – Roof: Procedures

This studio contains four walls, a ground plane To create a studio scene:
and a roof. An omni light is placed overhead You can create a studio using one of four methods:
and centered in the room. A target camera with
a 35mm lens is placed midway up the height of • Drag the studio tool from the palette and click
a wall and its target is a corner of the room. in a viewport to place it.
• CTRL+drag and select File Open to create a
studio a new scene.
• Studio – Ground: This studio • CTRL+drag and select Merge File to merge a
contains only a ground plane. An omni light studio into an existing scene.
and target camera with a 35mm lens are placed • CTRL+drag and select Xref File to xref a studio
overhead. into an existing scene.
Note: Materials assigned to objects in a model
that is externally referenced do not appear in
• Studio – Photoshoot: This studio the palettes.
contains props commonly used in a photo
shoot where two target cameras are set up to If you chose the drag method, or created the studio
view a soda can placed on the chair. Two ERCO using Merge File or Xref File, change a viewport
luminaire spotlights are placed attached to a to a Camera viewport.
pole on either side of the chair. An umbrella If you chose the Open File method, the studio is
provides a reflective surface. Both target displayed in four viewports, including one or two
cameras have a 43.456mm lens. This is only Camera viewports, depending on the studio.
studio on this palette that has pre-applied
materials. To see the materials used in the See also
studio, open the Scene–In Use Palette (page
3–407). Material Studios Palette (page 3–416)
Dragging and CTRL+Dragging Studios

Luminaire Palettes
You can add a studio into a scene by dragging
it from the palette and clicking to place it in the Main toolbar > Tool Palettes button > ERCO Luminaires
tab
viewport. This is comparable to merging the
studio into the scene. Main toolbar > Tool Palettes button > Simes Luminaires
tab
Alternately, you can CRTL+drag to choose from
three options for adding a studio: Open File, Between the ERCO and Simes luminaires palettes,
Merge File, or Xref File. there are close to sixty lighting fixtures at your
disposal. You can browse these palettes, then
Choose Open File if you want to create a studio in
drag and drop the appropriate fixture into your
a new scene. Choose Merge File if you have your
scene. In addition to adding the 3D geometry,

photometric data files control the light distribution Tool Palette Right-Click
for each fixture.
Menus and Dialogs
ERCO Luminaires Palette Right-click menus are associated with all tool
The ERCO Luminaires palette contains a subset palettes and tools that populate the Tool Palettes
of lighting fixtures that are available from the Set (page 3–403). From the right-click menus, you
Content Browser (page 3–124). These editable can make a number of changes to customize the
models include lighting parameters that use tool palette. A few examples include:
photometric web files to control light distribution. • changing how tools are displayed.
For information about this manufacturer and their
• moving and resizing the Tool Palettes Set.
lighting systems, go to the ERCO web site.
• adding new palettes.
Simes Luminaires Palette • copying tools from one palette and pasting
Similar to the ERCO Luminaires palette, the Simes them to another.
Luminaires palette also contains an assortment • renaming or deleting palettes or tools.
of lighting fixtures. Simes also supplies editable • moving palette positions up or down the Tool
3D models with lighting parameters using Palettes Set.
photometric web files. For information about this
manufacturer and their lighting systems, go to the • Adjusting Tool Palettes Set, tool palette or tool
Simes web site. properties.
Some of the right-click menus give you access to
Dragging and CTRL+Dragging Light Fixtures the dialogs where you can make changes like:
You can add an ERCO or Simes luminaire into a • refresh tool palettes with new tools from the
scene by dragging it from the palette and clicking Content Browser.
in the viewport to add it.
• add descriptive information about tool palettes
Alternately, you can CRTL+drag to choose from and tools.
three options for adding a light fixture: Open File, • change the size of the tool icons.
Merge File, or Xref File.
Choose Open File if you want to add a light fixture See also
into a new scene. Choose Merge File if you have Menus
your scene set up already and want to merge the
Tool Palettes Title Bar Right-Click Menu (page
light fixture. Choose Xref File to xref a luminaire
3–421)
into the scene.
Tool Palette Right-Click Menu (page 3–422)
See also
Tool Right-Click Menu (page 3–423)
XRef Scenes Dialog (page 3–296)
Palette Tab Right-Click Menu (page 3–424)
Dialogs
Palette Properties Dialog (page 3–425)
Tool Palettes Title Bar Right-Click Menu 421
Tool Properties Dialog (page 3–426) Move—When selected, changes the cursor to a
four-direction arrow. Drag the title bar to move
View Options Dialog (page 3–427)
the Tool Palettes Set.
Size—When selected, changes the cursor to a
four-direction arrow. Drag the right edge or the
bottom edge of the tool palette set to change its
Right-Click Menus size.
Note: You can also resize the Tool Palettes Set at all
times along the top or bottom edges, or along the
Tool Palettes Title Bar Right-Click side of the palette opposite the title bar (except in
Menu the area of the individual palette tabs.)
Tool Palettes > Right-click over the title bar on the Tool Close—When selected, closes the Tool Palettes Set.
Palettes Set
Auto-Hide—When turned on, the Tool Palettes Set
Tool Palettes > Right-click over the Properties button on
the bottom of the title bar hides itself, except for the title bar when you move
the mouse away from the palette. The Tool Palettes
This menu’s commands are for managing the Tool Set is displayed once again when you move the
Palettes Set (page 3–403). It displays when you mouse over the title bar. When turned off, the Tool
right-click the title bar of the Tool Palettes Set. Palettes Set is displayed at all times. Default=on.
See also Note: Clicking the Auto-Hide button at the

bottom of the title bar acts as a toggle.
View Options—Displays the View Options dialog
(page 3–427) where you can set how the palette
Palette Tab Right-Click Menu (page 3–424) tools display on the active palette or all palettes.
New Palette—Click to create a new palette (page
Interface
3–404). When the new palette is created, a text
field lets you enter a name for the new palette.
Enter the name, and then press ENTER to accept it.
Customize—Displays the Tool Palettes panel
(page 3–520) in the Customize User Interface
dialog where you can create additional palettes or
remove them, organize palettes into groups, or
import other palettes. Any changes you make are
immediately displayed in the Tool Palettes Set.
Properties—Opens the Palette Properties dialog
(page 3–425) where information about the active
palette is displayed.
Palette Groups—Any user-defined tool palettes are
listed. If there are no user-defined palette groups
in the Tool Palettes panel (page 3–520), you only Interface

see the All Palettes toggle.
All Palettes—Acts as a toggle when there are
user-defined palette groups. To make a different
palette group active, turn off All Palettes by
selecting another palette group. The title bar is
then updated with the name of the current palette
group.
Tool Palette Right-Click Menu

Main toolbar > Tool Palettes button > Right-click over
an empty area in a palette. View Options—Click to display the View Options
dialog (page 3–427) where you can set the palette’s
Right-clicking on an empty area on any palette in tool size and text display.
the Tool Palettes Set displays a menu containing
Sort By—Allows you to sort tools and text by name
options for displaying and adding tools, text, and
or by type.
separators. It also has options for deleting and
renaming the active palette, and accessing the Paste—Pastes a tool to the active palette.
Palette Properties dialog.
Add Text—Displays a text field where you can
Note: The right-click menu for the Scene–In Use enter text onto unused spaced on a palette. Press
and Scene–Unused palettes contains a subset of ENTER to accept the text. Right-click over the text
menu options that are available for other palettes. to display a menu that allows you to either remove
or copy the text to the Clipboard, delete the text
See also or edit (rename) it.
Tool Palettes Title Bar Right-Click Menu (page Add Separator—Creates a horizontal line that
3–421) separates lines of text, and is useful for organizing
Tool Right-Click Menu (page 3–423) areas on the palette.
Palette Tab Right-Click Menu (page 3–424) Delete Palette—Click to delete the active palette.
A warning dialog confirms if you want to
permanently delete the palette and reminds you to
export it to an external file if you want to save it.
Note: You can export the palette from the Tool
Palettes Panel (page 3–520) in the Customize User
Interface dialog.
Note: Deleting a tool palette from the Tool Palettes
Set does not permanently remove it from the Tool
Palettes panel.
Tool Right-Click Menu 423
Rename Palette—Click to rename the active Cut—Removes the tool from the active palette, and
palette. A text field displays where you can enter a place it on the clipboard. To select multiple tools,
new name. Press ENTER to accept it. use the SHIFT or CTRL keys.
Properties—Displays the Palette Properties dialog Copy—Makes a copy of the selected tool, and
(page 3–425) that contains information about the places it on the Clipboard. To select multiple tools,
active palette. use the SHIFT or CTRL keys.
Delete—Deletes the tool from the active palette. To
Note: You can also click the Properties button select multiple tools, use the SHIFT or CTRL keys.
at the bottom of the title bar to open the Palette The tool is not placed on the Clipboard. A warning
Properties dialog. dialog confirms if you want to delete the tool.
Note: When you delete a tool form a tool palette,
objects in the scene that were inserted with this
Tool Right-Click Menu
tool are not deleted.
Main toolbar > Tool Palettes button > Right-click over a
tool or tool name Rename—Renames the tool. A text field displays
where you enter the new name, then press ENTER
Right-clicking on a tool or on a tool’s thumbnail to accept it.
image displays menu with options for managing Properties—Displays the Tool Properties dialog
tools on palettes, including those on the Scene–In (page 3–426) where information about the tool’s
Use and Scene–Unused palettes. properties is displayed.
See also Help—Displays a context-sensitive topic in the

Help system.
Tool Palettes Title Bar Right-Click Menu (page Scene-In Use and Scene-Unused Tool
3–421) Right-Click Menus
Palette Tab Right-Click Menu (page 3–424) These menu commands are for managing tools on
the Scene-In Use and Scene-Unused palettes in the
Interface Tool Palettes Set.
Interface – Scene–In Use
Apply To Selected—Applies the material to selected Apply To Selected—Applies the material to selected
objects in the scene. objects in the scene.
Select Objects—Displays the objects in the scene Help—Displays a context-sensitive topic in the
that are assigned the material. Help system.
Refresh Thumbnail—Updates the thumbnail image
to match the material as it displays in the Material
Editor.
Palette Tab Right-Click Menu
Main toolbar > Tool Palettes button > Right-click over a
Copy—Makes a copy of the selected tool, and palette tab (active or inactive).
places it on the clipboard.
Properties—Displays the material in a sample slot Right-clicking over an active or inactive palette
in the Material Editor (page 2–1039). tab displays a menu with options for managing
palettes and tab names in the Tool Palettes Set.
Help—Displays a context-sensitive topic in the
Help system. See also
Interface – Scene–Unused Tool Palette Right-Click Menu (page 3–422)
Tool Palettes Title Bar Right-Click Menu (page
3–421)
Interface
Apply To Selected—Applies the material to selected

objects in the scene.
Refresh Thumbnail—Updates the thumbnail image
to match the material as it displays in the Material
Editor.
Cut—Removes the tool from the active palette, and
places it on the Clipboard.
Move Up—Moves the palette’s tab up by one, in the
Copy—Makes a copy of the selected tool, and order of display.
places it on the Clipboard.
Move Down—Moves the palette’s tab down by one,
Delete—Deletes the tool from the Scene–Unused in the order of display.
palette. The tool is not placed on the Clipboard. A
View Options—(Active palette only.) Click to
warning dialog confirms if you want to delete the
display the View Options dialog (page 3–427),
tool.
which lets you change the palette’s tool thumbnail
Properties—Displays the material in a sample slot size and text display.
in the Material Editor (page 2–1039).
Paste—(Active palette only.) Pastes a copied or cut
tool to the active palette.
Palette Properties Dialog 425
Delete Palette—(Active palette only.) Click Interface

to delete the active palette. A warning dialog
confirms if you want to permanently delete the
palette from the Tool Palettes Set and reminds
you to export it to an external file if you want to
save it. See Tool Palettes Panel (page 3–520) for
information on how to export a palette.
Note: Deleting a tool palette from the Tool Palettes
Set does not permanently remove it from the Tool
Palettes panel.
Refresh from—If the palette is shared from the
Rename Palette—Click to rename the active
Content Browser, this check box is available, and
palette. A text field displays where you can enter a the text field below it describes the original palette.
new name. Press ENTER to accept it.
You choose whether to share a palette when you
Properties—(Active palette only.) Displays the
drag it from the Content Browser to the active
Palette Properties dialog (page 3–425) that displays palette. For information about linking a tool, see
information about the active palette. Content Browser Utility (page 3–124).
When the Tool Palettes Set is sized so all the • Enable Auto-refresh—This check box is enabled
palette tabs overlap at the bottom, right-click on if the panel is shared from the Content Browser.
the overlapping tabs to display a pop-up menu to When on, updating the palette in the Browser
select palettes that are hidden. The hidden palettes updates the panel on the palette.
are listed above the horizontal line.
Name—Shows the name of the palette.
Description—Shows a brief description of the

palette. Click inside the text field to open the
Description dialog where you can enter additional
Right-Click Menu Dialogs information about the palette that is published
with the palette when it is exported to the Content
Browser.
Palette Properties Dialog
Tool Palettes > Right-click the title bar, an active palette
tab, or an empty area of a palette (not over a tool or tool
name) > Properties
The Palette Properties dialog displays information

about the active palette in the Tool Palettes Set
More Info—Click to display a More Palette Info
(page 3–403).
dialog that can contain additional information
about the palette.
You choose whether to link a material when you

drag it from the Content Browser to the Tool
Palettes Set.
Image—Shows a thumbnail image of the tool.
Right-click on the image to open the file select
Keywords—A text field where you can enter dialog to select another image for the tool.
keywords for the palette so that it can searched for Name—Shows the name of the tool.
in the Content Browser (page 3–124)
Description—Shows a brief description of the tool.
See also Click inside the text field to open the Description
dialog where you can enter additional information
Content Browser (page 3–124)
about the tool that is published with the tool’s
palette when it is exported to the Content Browser.
Tool Properties Dialog
Main toolbar > Tool Palettes button > Any palette. >
Right-click a tool. > Properties > Tool Properties dialog
The Tool Properties dialog shows information

about the selected tool in the Tool Palettes Set.
It appears when you choose Properties from the
More Info—Click to display a More Tool Info dialog
right-click pop-up menu for any tool on the
Lighting and Cameras palettes (page 3–412), that can contain further information about the
Material palettes (page 3–405), and Studio palettes tool:
(page 3–415).
Interface
See also
Content Browser (page 3–124)
Refresh from—If the tool is linked to a tool from

the Content Browser, this check box is available,
and the text field below displays the name of the
original tool. If you edit the original tool, you can
update the linked copy in the active palette by
turning on Refresh From and then clicking OK.
If the tool is not linked, the check box is unavailable
and the text field is blank.
View Options Dialog 427
• Current Palette—Changes the display of the

View Options Dialog active palette only.
Main toolbar > Tool Palettes button > Right-click the title • All Palettes—Changes the display of all palettes
bar. > View Options in the Tool Palettes Set.
Main toolbar > Tool Palettes button > Right-click on an
empty area on a palette. > View Options
This dialog lets you adjust the appearance of one

palette or all palettes in the Tool Palettes Set (page Status Bar Controls
3–403).
The Autodesk VIZ window contains an area at
Interface the bottom for prompt and status information
about your scene and the active command. There
is a coordinate display area in which you can
type transform values, and on the left, a two-line
interface to the MAXScript Listener.
See also
Animation and Time Controls (page 3–440)
Time Slider and Track Bar
Time Slider (page 3–430)
Image Size—Use the sliding scale to adjust the size Open Mini Curve Editor—Click to display a
of tool thumbnail images. To the left, the image version of the Track View Curve Editor (page
becomes smaller. To the right, it becomes larger. 2–826) in place of the time slider and track bar.
View Style—Lets you choose how to display tool When curves are displayed, you can click the Close
thumbnail images and text on palettes: button at upper left to return to a view of the time
• Icon only—Displays the tool thumbnail images slider and track bar.
with no text. Track Bar (page 3–432)
• Icon with text—Displays each tool thumbnail
image with its name beneath it. Status Bar
• List view—Displays each tool thumbnail image
with its name to the right of it.
MAXScript Mini Listener (page 3–428)
Apply to—Lets you adjust the scope of the changes
to: Status Line (page 3–430)
Selection Lock Toggle (page 3–436) MAXScript Mini Listener

Relative/Absolute Transform Type-In (page Click the tag bar, to the left of the status and prompt
lines, and drag it to the right to display the MAXScript
1–352) Mini Listener.
Coordinate Display (page 3–437)

The MAXScript Mini Listener is a single-line view
Grid Setting Display (page 3–438) of the contents of the MAXScript Listener window
Prompt Line (page 3–428) (page 3–502).
The MAXScript Listener window is divided
Communication Center
into two panes: one pink, and one white. The
Time Tag (page 3–438) pink pane is the MacroRecorder pane. When
the MacroRecorder is enabled, everything that is
recorded is displayed in the pink pane. The pink
Prompt Line line in the Mini Listener shows the latest entry into
the MacroRecorder pane.
Status bar > Prompt line
The white pane is the Scripter window where you
The prompt line, located at the bottom of the can create scripts. The last line you type in the
window under the status line, provides ongoing white area of the Listener will appear in the white
feedback, based on the current cursor position are of the Mini Listener. Use the arrow keys to
and the current program activity. When you scroll the display in the Mini Listener.
don’t know what to do next, look down here for
You can type directly into the white area of the
instructions.
Mini Listener, and the command executes in the
viewports.
Depending on what you are doing, the prompt Right-click either of the Mini Listener lines to
line displays instructions that tell you what the open the floating MAXScript Listener window.
program expects or what you can do next. For It will also display a list of the last 20 commands
example, when you click the Move button, the recorded. You can choose any of these commands
prompt line reads "Click and drag to select and and press ENTER to execute them.
move objects." For more information about the MAXScript
Tooltips are also displayed on the prompt line as Listener window, as well as about creating scripts,
your cursor passes over icons in any toolbar and see the MAXScript Reference: choose Help >
the status bar. MAXScript Reference.
Procedures
Example: To create a sphere using the Mini Listener:
1. Click the tag bar at the left end of the status
bar, and drag it to the right to expand the Mini
Listener.
MAXScript Mini Listener 429
2. In the Scripter (white, lower) line, type sphere 7. Click and highlight the macros.run "Modifier
radius: 50 and press ENTER. Stack" "Convert_to_Mesh" line.
A sphere appears in the viewports. Highlight the command script as you would
highlight a line of text in a text editor by clicking
Example: To redo a command using the Mini Listener: at the start of the line and dragging along the
1. Click the tag bar at the left side of the status entire length.
bar, and drag it to the right to expand the Mini 8. Click and drag the highlighted script from the
Listener. Mini Listener to a toolbar.
2. Right-click the Mini Listener and choose Open
Listener Window. Interface
3. From the MacroRecorder menu, choose Enable.
4. Using the command panel, create a sphere in
the perspective viewport.
5. Convert the sphere to an Editable Mesh. MacroRecorder Line—The pink, upper line displays
the last thing recorded by the MacroRecorder. If
6. Delete the sphere.
the MacroRecorder is not enabled, nothing will
7. Make a box. appear in this line.
8. Right-click the MacroRecorder (pink, upper) Scripter Line—The white, lower line displays the
line and choose macros.run "Modifier Stack" last entry typed into the Scripter window. You
"Convert_to_Mesh" from the list. The box has can type directly into this line and execute the
been collapsed to an editable mesh. commands in the viewports
Example: To make a script and add it to a toolbar: History List—Right-clicking either of the Mini
For this very simple example, you’ll make a script Listener lines displays a history of the last twenty
that collapses an object to an editable mesh, and commands recorded by the Macro Recorder
then create a toolbar icon to run the script. (provided it has been enabled). Click any of these
commands to execute them in the viewports.
1. Right-click the Mini Listener, and choose Open
Listener Window. Open Listener Window—Right-clicking either of
the Mini Listener lines displays a dialog that allows
2. From the MacroRecorder menu, choose Enable.
you to open the MAXScript Listener window. You
Close the listener window.
can also open the Listener using the Utilities panel
3. Create a box in the Perspective viewport. > MAXScript rollout. You can display the Listener
4. Right-click the box and choose Convert to: > window in a viewport by right-clicking the
Editable Mesh from the quad menu. viewport label, then choosing Views > Extended
> MAXScript Listener.
5. Left-click in the MacroRecorder line.
The MacroRecorder line goes blank because
the cursor goes to the last line.
6. Press the upper-arrow key on the keyboard to
move up the list of recorded command scripts.
allows you to move a pose in time without losing

Status Line it in the viewport.
Status bar > Status line To move one frame back or forward, click the
arrow on the left or right side of the time slider,
The status line displays the number and type of respectively. Or simply place your cursor anywhere
object or objects selected. The status line is located on the time line, click and the time slider will
at the bottom of the screen, just above the prompt jump to your cursor position. In Key Mode (page
line (page 3–428). 3–447), clicking an arrow jumps to the adjacent
key.
The Track View Key window displays a time slider
If multiple objects are selected and all are of the as well. The movement of the two time slider is
same type, the number and type of the objects synchronized. Moving the time slider in the Track
are displayed: for example, "3 Lights Selected". If View window will move the time slider below the
multiple geometry objects are selected, the status viewports, and visa versa.
line displays the number plus the phrase "Objects
Selected": for example, "6 Objects Selected". If Procedures
multiple geometry and non-geometry objects To move to a specific frame in the animation, do one
(for example, lights) are selected, the status line of the following:
displays the number plus the phrase "Entities • Drag (scrub) the time slider right or left until
Selected": for example, "3 Entities Selected". the frame number is displayed on the time
slider.
Time Slider • Type the frame number

into the current frame field in the time controls,
Status line > Time Slider
and then press ENTER.
The time slider shows the current frame and lets
To move ahead or back a frame or a key at a time,
you move to any frame in the active time segment do one of the following:
(page 3–651). Right-clicking the slider bar opens
the Create Key dialog (page 2–677), which lets you By default, Key Mode (page 3–447) is off, and
create position, rotation, or scale keys without these controls move a frame at a time. To move by
keys, click the Key Mode Toggle button; this turns
using the Auto Key button.
on Key Mode. When Key Mode is on, the button
looks like this:
When you are in Auto Key (page 3–441) mode, you

can right-click and drag the time slider to create
a key that has the source at the initial time slider • Click the < or > button at either end of the time
position, and the destination at the subsequent slider.
time slider position. • Press the < or > key on the keyboard.
In Set Key mode (page 3–442), holding down the
right mouse button and dragging the time slider
Time Slider 431
a key at the destination frame for the pose at

• When Key Mode is off, click the Next
the source frame.
Frame or Previous Frame button in the time
controls. • In Set Key mode, if you have posed your
character on the wrong frame, right-click and
• When Key Mode is on, click the Next drag the time slider. The pose is moved in time
Key or Previous Key button in the time controls. to the new time slider position. Click the Set
Key button to set the keys.
To move ahead or back many frames at a time:
• Click in the empty track to either side of the To scrub the animation with the mouse but without
time slider. The time slider will jump to your dragging:
cursor position. This is a faster way of moving 1. Go to Customize > Customize User Interface.
in time than dragging the time slider. On the Keyboard panel, click in the Action
list and then press the T key to jump to the
To move to the first or last frame of the active time T section. Scroll down to find Time Slider
segment: Capture Toggle and click it.
• Use the time control buttons Go To 2. Click the Hotkey field and then press a
Start or Go To End. keyboard combination to assign as a keyboard
shortcut; for instance, CTRL+T. Click the
To display SMPTE time code on the time slider: Assign button.
3. Close the Customize User Interface dialog and
• Click Time Configuration in the time
then press your hotkey for Time Slider Capture
controls, and then under Time Display, choose
Toggle.
SMPTE.
4. Move the mouse left and right without pressing
To display subframes on the time slider: any buttons.
The time slider moves in tandem with the
• Click Time Configuration in the time
mouse.
controls, and then under Time Display choose
Frames:TICKS or MM:SS:TICKS. 5. To exit this mode, press the hotkey again or
click any mouse button.
Each frame is divided into subframes.
To use the time slider to adjust animation, do one of Interface

the following: By default, the active time segment is from
• To copy a pose from one frame to another, with frame 0 to frame 100. The slider displays time in
Auto Key on or off, and Set Key off, right-click frames, SMPTE numbers (page 3–732), or other
the time slider and drag to a new location. measurements, depending on the current setting
in the Time Configuration dialog (page 3–447).
The Create Key dialog appears with Source
Time set to the frame you were on when you The slider bar displays the current frame, followed
right-clicked, and Destination Time set to the by a slash (/), followed by the total frames in the
frame to which you moved the time slider. active time segment. For example 25/100 means
Toggle the Position, Rotation, and Scale check frame 25 of 100 frames. The current frame also
boxes as necessary and then click OK to create appears in the current frame field. If animation
(page 3–655) exists in the scene, it’s played back as selected/unselected state of the key. The frame
you drag the time slider. indicator is a similar bar displayed in blue.
The buttons on either side of the time slider bar A key on the track bar can represent any number
move one frame to the left and one frame to the of animated parameters for the selected objects.
right, like the Previous Frame and Next Frame Transformations, modifiers, and animated
buttons in the time controls. If Key Mode (page material parameters can all have keys at a
3–447) is on, these buttons duplicate the Previous particular frame.
Key and Next Key buttons.
To display a list of all keyed values for a key on
Key Mode can jump to all the keys or only the the track bar, right-click the key. Choose a key
transform keys, depending on the Key steps setting type from the right-click menu to display its key
in the Time Configuration dialog. properties dialog. Delete keys and filter the track
Tip: Right-click the slider bar to open the Create bar display using options on the right-click menu.
Key dialog. This lets you create Position, Rotation, The track bar right-click menu contains a
or Scale keys without using the Auto Key button. submenu that lists any procedural controllers
It also lets you copy keys easily from one frame to (list controllers, noise, and so on) assigned to
another. the current object selection. If you select one of
the controllers from the submenu, the properties
dialog for that controller displays in a modeless
Track Bar dialog.
The track bar is located below the viewports, between the The track bar can display a waveform (.wav file)
time slider and the status bar.
that has already been assigned to the sound object
in Track View. To display this feature, right-click
The track bar provides a timeline showing the
the track bar and choose Configure > Show Sound
frame numbers (or appropriate display units).
Track. If no waveform is currently assigned to
It provides a quick alternative to Track View
the sound object or if you are using a third-party
for moving, copying, and deleting keys, and
sound object plug-in that is not compatible with
changing key properties. Select an object to view
the waveform display, this part of the track bar is
its animation keys on the track bar. The track bar
unavailable.
also displays keys for multiple selected objects.
You can modify the active time segment (page
3–651) by pressing CTRL and ALT while dragging
the track bar. Hold the left mouse button to slide
the start of the range, the right mouse button to
slide the end of the range, and the middle mouse
button to change both the start and end frames
The displayed keys use color coding, so you together. A tooltip at the cursor and a status bar
can easily determine what kind of key exists message will indicate the range you are setting.
at that frame. Position, rotation and scale
Note: While the Auto Key button is depressed,
keys are red, green, and blue, respectively, and
the time slider background is highlighted red,
non-transformational keys are gray. You can
to indicate that Autodesk VIZ is in automatic
customize the colors in the Customize User
keyframing mode.
Interface dialog (page 3–511), and depends on the
Track Bar 433
A Key Properties dialog is displayed.

You can expand the track bar to show curves.
Click the Open Mini-Curve Editor button at the 2. Change the Time parameter in the Key
left corner of the track bar. The time slider and Properties dialog.
track bar are replaced with the controller and key The key slides along the track bar to a new
windows, and Track View toolbars. You can resize location.
the track bar window by pressing and dragging the
border between the menu bar and the toolbars. To delete keys on the track bar:
1. Make a key selection on the track bar and press
Procedures DELETE.
To select keys on the track bar: All selected keys are deleted.
1. Click a key to select it. 2. Make a key selection on the track bar,
2. Drag a window around a selection of keys to right-click anywhere on the track bar to display
region-select multiple keys. the track bar menu, and then choose Delete
If the track bar right-click menu > Configure > Selected Keys on the pop-up window.
Show Selection Range option is on, when you All selected keys are deleted.
select multiple keys, the range of the selected
keys is shown in the selection range bar at the To delete a single key type on a frame with multiple
bottom of the track bar. You can then scale the keys:
selected keys proportionally by dragging either An object can have many keys for different
end of the selection range bar, or move the keys animated parameters at a particular frame.
by dragging the center of the bar. Use this procedure to delete a key for a single
parameter.
To move or clone keys on the track bar:
1. Right-click over a selected or unselected key
While keys are moved or cloned, small lines on on the track bar.
the track bar mark the original position of the
A pop-up window displays.
keys. All keys at a particular frame are moved
simultaneously using the following procedures. 2. Move the mouse over Delete Key, then choose a
key to delete in the submenu.
1. Drag a key selection to move it in time.
2. Hold down SHIFT, then drag a key(s) to clone To change the length of the active time segment:
keys. You can change the animation length using track
3. Right-click to abort a move or clone operation. bar.
• Hold CTRL+ALT and drag on the track bar:
To move a single key from a frame with multiple keys:
• With the left mouse button to change the
If, for example, a frame has both a transform key
active time segment’s start frame.
and a material key for the selected object, and
only the transform key must move, display the • With the right mouse button to change the
Transform Properties dialog and use the Time active time segment end frame.
parameter to move the transform key. • With the center mouse button to change the
1. Right-click a key on the track bar and choose a active time segment start and end frames
key on the pop-up window key list. simultaneously.
To hide or show the track bar: • During a move or clone operation, short,
• Choose Customize > Show UI > Show Track vertical, gray lines represent the original key
Bar. locations.
This menu item is a toggle: a check mark shows • The cursor changes to a cross when over
that the track bar is currently displayed. unselected keys.
• The cursor changes to a two-sided arrow over
To show curves on the track bar: selected keys, signifying a move operation is
possible.
• Click the Open Mini Curve Editor button
at the left hand side of the track bar. • Right-click anywhere on the track bar to display
the track bar right-click menu. Right-click
The track bar keys are replaced with a menu bar,
over a key to access its keyed values from
toolbars and the controller and key windows.
the right-click menu, as well as other track
bar-related commands.
Interface
Track Bar • Click the Open Mini Curve Editor button
to expand the track bar. When the track bar
is expanded it displays the Track View menu,
toolbars, controller and key windows. You can
hide or unhide UI Elements such as scroll bars
as well when this is expanded.
• Make an object selection in the viewports to Track bar menu

display the object’s keys on the track bar. Right-click a key on the track bar to display the
• Selected transformation keys are white; track bar menu.
unselected keys are other colors.
• Drag from an empty area of the track bar to
region-select keys.
• Drag a key to move it in time.
• Hold SHIFT and drag a key to clone it.
• Hold CTRL+ALT and drag the track bar to
change the active time segment, that is, the
animation range displayed on the track bar.
Dragging with the left mouse button will
change the start of the range, dragging with the
right mouse button will change the end of the List—Displays the object name and key type for all
range, and dragging with the middle mouse keys at the current position. Choose any of the keys
button will change both the start and the end in the list at the top of the track bar menu to display
of the range. a key properties dialog. For more information on
this dialog, see Key Info (Basic) (page 2–694) and
• Right-click to abort a move or clone operation.
Key Info (Advanced) (page 2–696).
Track Bar 435
• A key with a check next to the name indicates

the key is shared with other instances in the
list. Two selected objects might share the same
Twist modifier, for example.
• The list displays keys for all selected objects. If
there are more than 10 keys, then the list turns
to a submenu under Key Properties in the track All Keys—Displays all keys.
bar menu.
All Transform Keys—Displays only keys for
• If there is no key properties dialog for a key position, rotation and scale.
type, the key is unavailable.
Current Transform—Displays only keys that use the
Controller Properties—Displays a submenu that currently selected transform-position, rotation or
contains a list of all of the procedural controllers scale.
(list controllers, noise, and so on) assigned to the
Object—Displays object modifier keys. Excludes
object selection.
transformation and material keys.
If you choose one of the controllers from the
Keyable Tracks Only—Controls the display of
submenu, the properties dialog for that controller
displays in a modeless dialog. keyable tracks on the track bar.
List Controller – Active Only—This filter lets you
Delete Key—Displays a submenu identical to the
key properties list at the top of the track bar menu. see only the keys on the active control in a List
Choose a key type or choose All to delete one or Controller. Otherwise, you see all the keys on all
all of the keys. the controls.
List Controller – Hide Weights—This filter hides the
All—Deletes all keys at the current position.
weight parameter keys of a List Controller from
Keys do not need to be selected on the track bar in the track bar.
order to use Delete Key. Keys are deleted from the
Configure—Displays a submenu that lets you
track bar key over which you right-clicked.
change the track bar display and behavior. The
Delete selected keys—Deletes the keys selected on options are:
the track bar. If no keys are selected, this option
• Show Frame Numbers
is unavailable.
• Show Selection Range
Filter—Displays a Filter submenu. Choose a
filter to filter the track bar display; showing only • Show Sound Track
transformation keys, for example. • Snap To Frames
Right-click anywhere on the track bar, place the
cursor over Filter in the track bar menu to display
the Filter submenu, then choose a filter. According
to the filters set, keys will disappear on the track
bar.
• Show Frame Numbers—Displays frame numbers
in the track bar.
• Show Selection Range—Displays a selection

range bar below the track bar, whenever Click to turn it on (it turns yellow). When
multiple keys are selected. Lock Selection is on, you can click anywhere in a
viewport and the program interprets it as clicking
You can scale all selected keys by dragging the selected object(s). This is useful when you
either end of the selection range. This lets you want to keep objects selected while you make a
change the length of an animation segment different viewport active or when the selection is
while maintaining the relative distance between tiny, or crowded and difficult to select.
animation keys. You can also move the selected
keys in time by dragging the selection range bar. Procedures
• Show Sound Track—Displays the waveform To transform an object without touching it:
(.wav file) that is assigned to the sound object
1. Use the Selection Floater from the Tools menu,
in Track View.
the Select By Name button on the main toolbar
• Snap to Frames—Keys snap to frame numbers or press the H key to select the object by name.
when moved. If turned off, you can place keys
2. Click the transform button (move, rotate, or
between frames.
scale) from the main toolbar.
Go to Time—Moves the time slider to the cursor
position. 3. On the status bar, turn on the Selection
Lock toggle or press the SPACEBAR to lock the
Right-click anywhere on the track bar, then click
selection set.
Go To Time.
4. Press and drag anywhere in the viewport.
The object transforms even though you are not
Selection Lock Toggle touching it.
Status bar > Selection Lock Toggle To avoid accidentally canceling a selection:
Keyboard > SPACEBAR 1. Make your object selection.

2. Click the Selection Lock toggle on the status
Selection Lock Toggle toggles selection locking on line, or press SPACEBAR to turn on Locked
and off. Lock selections so you don’t inadvertently Selection mode.
select something else in a complex scene.
To exit sub-object selection mode, do one of the
When your selection is locked, you can drag the
following:
mouse anywhere on screen without losing your
selection. The cursor displays the current selection • In the Modifier Stack display, choose the object
icon. When you want to deselect or alter your level.
selection, click Lock Selection again to turn off • Open another command panel. This turns off
locked selection mode. Sub-Object selection.
When you want to select something and you If you’ve turned off Sub-Object selection and
can’t, it’s frequently because you have locked your object selection is still not restored, one of the
selection. following may be true:
This button is off by default.
Coordinate Display 437
• Your selection is locked. Turn off the Selection coordinates for the current transform. See
Lock toggle on the status line. “Interface,” below.
• You’ve set the Selection Filter in the toolbar to • While a transform button is active and multiple
a specific category of object, so you can’t select objects are selected, these fields are blank.
any of the other categories. To fix this, choose • When no object is selected and the cursor is not
All in the Selection Filter list. over the active viewport, these fields are blank.
Procedures
Coordinate Display
To display the position of the mouse in feet or metric
Status bar > Coordinate Display area units:
1. Choose Customize > Units Setup.
The Coordinate Display area shows the position of
2. Turn on one of the main categories (Metric,
the cursor or the status of a transform, and allows
US Standard, Custom, or Generic Units) and
entry of new transform values.
choose from the drop-down list.
The coordinate display is now in labeled units.
The information in these fields varies, depending Example: To move the position of an object to the
on what you are doing: center of the world:
• When you are simply moving the mouse in a 1. Select an object in the viewport.
viewport, these fields show the current cursor 2. Right-click and choose Move from the quad
location in absolute world coordinates (page menu
3–748).
3. Select the value in the x coordinate field, then
• While you are creating an object, these fields enter 0. Press TAB.
also show the current cursor location in
4. Type 0 in the Y coordinate field, and press TAB.
absolute world coordinates.
5. Type 0 in the Z coordinate field.
• While you are transforming an object by
dragging in a viewport, these fields always show Tip: Right-clicking the spinner arrows for a
coordinates relative to the object’s coordinates coordinate sets the value to zero.
before the transformation was started.
Interface
While you are transforming an object, these
fields change to spinners (page 1–12), and you
can type values directly in them, as described
below in “Using the Coordinate Display for When you are transforming an object, you can
Transform Type-In.” This is an easy alternative type coordinates directly in the Coordinate
to using the Transform Type-In dialog (page Display fields. You can do this in two modes,
1–352). Absolute or Offset.
• While a transform button is active and a single • Absolute sets the exact coordinates of the
object is selected, but you are not dragging object in world space.
the object, these fields show the absolute
• Offset transforms the object relative to its

existing coordinates.
This value is constant in the active viewport. It
Click the Absolute or Offset button to toggle does not change if you zoom in very close or zoom
between the modes: out very far.
While you are typing in the Coordinate Display
fields (X,Y,Z), you can use the TAB key to move Procedure
from one coordinate field to another. To change the size of one grid square:
When you transform an object, the information • Right-click the Snap Toggle on the main toolbar
shown by these fields depends on the type of to display the Grid and Snap Settings dialog.
transform: Alternately, you can choose Customize menu >
Grid and Snap Settings.
• Move displays the offset XYZ coordinates
based on the current coordinate system. For • On the Home Grid tab, in the Grid Dimensions
example, if you’re moving an object and you’re group, change the Grid Spacing value.
constrained to the X axis, only the X readout The new value is displayed in the grid setting
will change, displaying the offset of the move display.
along the local X axis.
• Close the dialog by clicking the X at the upper
• Rotate displays the offset angle in degrees right corner of the Grid and Snap Setting
about the axis or axes the rotation is performed dialog.
around. This is dependent on both the axis
coordinate system, and the local/center toggle
button. Time Tag
• Scale displays the offset XYZ scale in
Status bar > Add Time Tag
percentages.
You can get the absolute as well as offset Time tags are text labels that you can assign to any
information through the Transform Type-In point in time in your animation.
dialog (page 1–352) available from the Tools menu
or by right-clicking a transform button that has
been selected on the toolbar.
They let you easily jump to any point in your
See also animation by selecting its tag name. The tags can
be locked to be relative to other time tags so that
Units Setup Dialog (page 3–581) the movement of one time tag will update the time
position of another.
Grid Setting Display The time tags are not attached to keyframes. They
are simply a way to name events that occur in your
Status bar > Grid Setting Display animation and navigate to them. If you move your
keyframes, you will need to update your time tags
The grid setting display shows the size of one grid accordingly.
square.
Add Time Tag Dialog 439
Interface Interface
Left-click or right-click the Time Tag box to
display a menu with the following items:
Add Tag—Displays the Add Time Tag dialog (page
3–439) that lets you define a tag name for the
current location in time.
Edit Tag—Displays the Edit Time Tag dialog (page
3–440) that lets you rename, delete, or edit any
defined tag.
The remainder of the menu displays frame
numbers and their tag names. Choose a tag name Tag Time—Displays the current frame, to which
to jump to the spot in time defined by the tag. the tag will be assigned.
Tag Name—Enter the name of the tag. You can
create a long tag name in this field, but the tag slot
Add Time Tag Dialog will display only 15 characters.
Status bar > Click in the Time Tag box. > Add Tag Lock Time—Locks the tag to the current frame,
regardless of subsequent scaling of time.
Use the Add Time Tag dialog to define a time tag
For example, with Lock Time off, if you have a tag
(page 3–438) for the current spot in time.
named "Forty" at frame 40, and you scale time up
200 percent, the Forty tag will be at frame 80. If
Procedure Lock Time is on, the Forty tag remains at frame 40.
To use time tags:
Relative To—Lets you assign another tag to which
1. Move to the spot in time where you want to the current tag will maintain a relative offset.
add a tag.
For example, if you have a tag at frame 10 called
2. Click in the Time Tag box, and choose Add Tag
First and you create a second tag at frame 30 called
from the menu.
Second, if you move the position of First to frame
3. In the Add Time Tag dialog, enter the name of 25, Second will move to frame 45 to maintain the
the tag. Choose whether to lock it to time and 20-frame offset between the two tags.
whether to make it relative to another tag, and
click OK. This is a one-way offset. If you change the time
position of the second tag in the example, the first
The name of the tag appears in the tag slot, and tag is not affected. Circular dependencies are not
will reappear whenever you go to that spot in allowed: you can’t have First relative to Second and
time. Second relative to First.
To jump to a defined tag, click the Time Tag slot
and choose the tag name from the list.
To rename, delete, or change the properties of
a tag, click the Time Tag field and choose Edit
Tag (page 3–440).
Tag Name—Use this field to rename the selected

Edit Time Tag Dialog tag. You can create a long tag name in this field,
but the tag slot will display only 15 characters.
Status bar > Click in the Time Tag box > Edit Tag
Time—Lets you change the time where the tag is
Use the Edit Time Tag dialog to alter the properties assigned.
of any of the defined time tags (page 3–438). Lock Time—Locks the tag to the current frame,
regardless of subsequent scaling of time. For
Procedure example, with Lock Time off, if you have a tag
To edit a time tag: named Forty at frame 40, and you scale time up
200 percent, the Forty tag will be at frame 80. If
1. Click in the Time Tag box and choose Edit Tag
Lock Time is on, the Forty tag remains at frame 40.
from the menu.
2. Choose the time tag you want to edit from the Relative To—Lets you assign another tag to which
list. the current tag will maintain a relative offset. For
example, if you have a tag at frame 10 called First
3. Use controls in the Edit Time Tag dialog to
and you create a second tag at frame 30 called
rename it, or move it in time relative to another Second, if you move the position of First to frame
time tag. 25, Second will be moved to frame 45 to maintain
the 20-frame offset between the two tags.
Interface
This is a one-way offset. If you changed the time
position of the second tag in the previous example,
the first tag is not affected. In addition, circular
dependencies are not allowed. You can’t have First
relative to Second and Second relative to First.
Delete Tag—Deletes the selected tag.
Animation and Time

Controls
Between the status bar and the viewport navigation
controls are the animation controls, along with
the time controls for animation playback within
viewports.
All of the current tags, along with their associated

frame numbers, appear in the window at the top
of the Edit Time dialog. Select the tag to edit, then
adjust the controls below the window.
Auto Key Animation Mode 441
Animation Controls
The Auto Key button is red when it’s on. The

Auto Key Animation Mode active viewport is also outlined in red when the
(page 3–441) and Set Key Animation Mode (page Auto Key mode is on; the time slider turns red as
3–442) well. This serves to remind you that you are in
Animate mode, and that you are setting keyframes
with your actions.
Go To Start (page 3–445)
Warning: Be sure to turn off Auto Key after keyframing,
Previous Frame/Key (page 3–445) or you will inadvertently create unwanted animation.
Use Undo to remove the unwanted animation. Be
careful; it’s easy to forget.
Play/Stop (page 3–445)
Within an existing animation, you can create
Next Frame/Key (page 3–446) keyframes for transforms without the use of the
Auto Key button by right-clicking the time slider
Go To End (page 3–446) and then setting the source and destination time.
For example, you can use this function to copy an
Current Frame (Go To Frame) existing Move key to a later frame, so an object
(page 3–446) pauses its motion momentarily (to keep the object
still, you must use linear or step interpolation).
Time Controls You can also set keyframes for other animatable
parameters in Track View and the Motion panel
Key Mode (page 3–447) without using Auto Key.
Time Configuration (page 3–447)
See also
Using Auto Key Mode (page 2–672)
Auto Key Animation Mode Set Key Animation (page 3–442)
Status bar > Time controls > Auto Key (Toggle Auto Key Using Set Key Mode (page 2–673)
Mode)
Keyboard > N Procedures

To animate an object using Auto Key:
The Auto Key button turns the keyframing
mode (page 3–690) called Auto Key on or off. 1. Turn on the Auto Key button.
All movement, rotation, and scale changes are The Auto Key button, the time slider, and the
keyframed while the Auto key button is on. When highlight border around the active viewport
it’s off, these changes are applied to frame 0. all turn red.
You can also keyframe by using Set Key mode 2. Drag the time slider to a time other than 0.
(page 3–442), which allows you to selectively add
3. Do one of the following:
keyframes using the Set Keys button.
• Move, scale, or rotate an object.
• Change an animatable parameter. type used by the controller. Right-click the keys
For example, assume you start with a cylinder in the track bar and select the transform key to
that has not been animated yet and therefore see the controls for adjusting the timing of the
has no keys. You then turn on the Auto Key in-betweens.
button, and on frame 20 you rotate the cylinder 8. Turn off the Auto Key button.
90 degrees about its Y axis. This action creates
Rotation keys at frames 0 and 20. The key at To remove the animation from a scene and start
frame 0 stores the original orientation of the again:
cylinder, while the key at frame 20 stores the 1. Choose File menu > New.
animated rotation of 90 degrees. When you
play the animation in the viewport, the cylinder If the scene has been modified, you are asked
rotates 90 degrees about its Y axis over 20 if you want to save it. After you make that
frames. decision, a New Scene dialog is displayed.
2. In the New Scene dialog, turn on Keep Objects
4. Turn off the Auto Key button when And Hierarchy and click OK.
you are done.
All the objects remain in the scene but all
Example: To animate an object between three points keyframes have been removed.
using Auto Key: 3. To remove the animation from just certain
objects, delete their keys in Track View.
1. Turn on the Auto Key button.
2. Drag the time slider (to frame 25, for example). To animate a hierarchy with IK interactively:
3. Move the object from point A to point B. 1. Select any hierarchy that does not already have
A Move key is created at frames 0 and 25. an IK Solver applied.
The establishing key at frame 0 describes the 2. Click IK on the Hierarchy panel.
object’s position at point A. The key at frame 25
describes the object’s position at point B. 3. Turn on the Auto Key button.
4. Drag the time slider (to frame 50, for example). 4. On the Inverse Kinematics rollout, turn on
Interactive IK.
5. Move the object from point B to point C.
5. Select and move objects in the IK structure on
A Move key is created at frame 50 that describes
different frames.
the object’s position at point C.
Note: This will work on linked hierarchies that
6. Click the Playback button. do not already have an HD Solver applied. This
The object moves from point A to point B over technique allows you to animate hierarchies
frames 0 to 25, then proceeds to point C over using IK methods (page 2–781) without
frames 26 to 50. applying any IK solver (page 2–784).
7. The Playback button turns into a Stop

button. Click it to stop playback. Set Key Animation Mode
The position of the object in between the Set Key Animation Mode allows you to create
keyframes is determined by the interpolation keys for selected objects individual tracks using a
Set Key Animation Mode 443
combination of the Set Keys button and Key Filters. Procedures

Unlike the traditional method of Autodesk VIZ To animate using Set Key mode:
animation, Set Key mode gives you control over
what you key and when. It allows you to position 1. Turn on Set Key mode.
or transform any object and then if you like it, use
2. Select the objects you want to keyframe, and
that position to create keys. If you move to another then right-click and choose Curve Editor.
point in time without keying, your position is
discarded. It also works with object parameters.
3. On the Track View toolbar, click Show
You can try out different values and then when you Keyable Icons, then use the keyable icons in the
have what you like use it to create keys. Combine controller window to define which tracks will
this with keyable tracks in the Curve Editor to be keyed.
create keys on just the object parameters you want
to key. A red key means the track will be keyed.
Click a key to toggle keyable status.
Set Key Workflow 4. Click Key Filters and then
To animate something using Set Key mode, you turn on the tracks you want to keyframe.
first turn on Set Key Mode. You can then select the By default, Position Rotation, Scale, and IK
object you want to animate and use the Key Filters Parameters are on. For this example, turn off
button to set which tracks you want to keyframe. Rotation and Scale.
You can also use Show Keyable icons in Track View 5. Go to a frame at which you want to set a key.
edit windows to make individual tracks keyable or
not. With all this setup work completed you can 6. Move an object.
create keys by clicking the Set Key button (the large
button with the key) or using Keyboard shortcut
(K). Move ahead in time, then make changes to 7. Click the Set Keys button.
your object (transforms or parameter changes)
and click Set Keys to use those changes to create
keys. The Set Key button flashes red to
If you do not click the Set Keys button and move to show that it has set a key, and a key appears on
another frame the object changes will be lost, as if the track bar.
you had never made them. This is fundamentally Repeat this process, moving the time slider and
different behavior from Auto Key mode, where setting keys.
you would need to use undo to lose the changes
you made. Use the right mouse button on the time To keyframe all parameters using Set Key mode:
slider to press and drag a transform to a different
point in time. 1. Turn on Set Key mode.
2. In the viewport, select the objects to which you
For faster workflow you can define keyboard
want to add keyframes.
shortcuts for the Key Filters and Show Keyable tools
by going to Customize menu > Customize User 3. Click Key Filters and then
Interface and assigning keystroke combinations in turn on the Key All.
the Main UI group.
4. Move the time slider to the frame where you Selection List—Gives quick access tonamed
wish to set keys selection sets (page 1–81) while working with
Set Key. Lets you easily swap among different
selection sets.
5. Click the Set Keys button. Note: Choosing a selection set from the list does
Keys will be added to all keyable parameters. not select objects in the viewports. To accomplish
this, use the Named Selection Sets (page 1–81).
To move a position in time without update:
Set Key Filters dialog—Turn on the tracks you want
1. Turn on Set Key. to key. Default=Position, Rotation, Scale and IK
2. Move to a particular frame (let’s say frame 20). Parameters.
3. Position your object(s).
4. Move your cursor over the time slider, then
press the right mouse button down and drag.
The time slider moves, but the position does
not change. The position is maintained and
transferred to the new point in time.
5. When you are at the appropriate frame, press
Set Keys to set the position keys. The following options are available:
• All— allows for a quick way to key all tracks.
Interface When All is turned on, the other toggles are
unavailable. Clicking Set Keys with the All
Set Key—Turns on Set Key Mode.
filter turned on will result in a key placed on
all keyable tracks.
• Position— allows for position keys to be created.
Set Keys—Click this to set a key. This
button will create a key on tracks for the selection • Rotation— allows for rotation keys to be created.
set. It checks that the tracks are keyable, and that • Scale— allows scale keys to be created.
Key filters allow the tracks to be keyed. If both
• IK Parameters— allows inverse kinematic
these are satisfied, a key is set. Set Keys also sets
parameters to be keyframed.
keys in Auto Key mode, and in Layout mode (the
mode when neither Auto Key nor Set Key is turned • Object Parameters— allows object parameters
on). Keyboard shortcut default for this command to be keyframed.
is K. • Other—allows for other parameters that don’t
fall in the above categories to be keyframed
Key Filters—Displays the Set Key
using the Set Key technique. This includes
Filters dialog where you can define which type of such things as helper properties and look-at
tracks will be allowed or disallowed keys. controller tracks for target cameras and lights.
Go To Start 445
Warning: If you turn on Object Parameters, all the

object parameters of an object will then receive keys, Play/Stop
unless you have turned off the tracks using Keyable on
the Controller menu of Track View – Curve Editor. The Status bar > Time controls > Play
same advice applies to Materials.
Status bar > Time controls > Stop
Tip: You can also set keys on spinners by holding
Keyboard > / (to play); ESC (to stop)
down the SHIFT key and right-clicking a spinner.
The Play button plays the animation in the active
viewport. If you click another viewport to make
Go To Start it active, the animation continues playing in that
viewport. When the animation is playing, the Play
Status bar > Time controls > Go To Start
button becomes a Stop button. The Play button is
Keyboard > HOME a flyout for playing only the animation of selected
objects.
Go To Start moves the time slider to the first frame
Tip: You can play the animation in all the viewports
of the active time segment (page 3–651). The
simultaneously by turning off Active Viewport
active time segment is set in the Start Time and
Only in the Time Configuration dialog (page
End Time fields of the Time Configuration dialog
3–447).
(page 3–447).
Procedures
To play the animation in the viewport:
Previous Frame/Key
1. Activate the viewport where you want to play
Status bar > Time controls > Previous Frame the animation.
Keyboard > , (comma)
2. Click the Play button.
Previous Frame moves the time slider (page The animation plays in the viewport. The Play
3–430) back one frame. button becomes a Stop button.
If Key Mode (page 3–447) is on, the time 3. Click Stop to end the playback.
slider moves to the previous keyframe (page The speed of the animation playback is
3–690). Keyframe options are set in the Key Steps determined by the settings in the Time
group of the Time Configuration dialog (page Configuration dialog, the complexity of the
3–447). scene and the speed of the graphics card and
If Time Configuration dialog > Use TrackBar is processor.
on, Previous Key jumps to the previous key of any
To play the animation looped backward:
kind. If Use TrackBar is off, Previous Key jumps
to the previous transform key, ignoring any other 1. Click the Time Configuration button on
type of keys. the status bar.
2. In Time Configuration dialog > Playback
group, turn off Real Time.
The Direction buttons are now available.

3. Turn on Reverse and click OK. Next Frame/Key
4. Click the Play button. Status bar > Time controls > Next Frame
The animation plays backward. Keyboard > . (period)
5. To play the animation front-to-back and then

Next Frame moves the time slider (page 3–430)
back-to-front in a continuous loop, turn on ahead one frame.
Ping-Pong as the Direction.
If Key Mode (page 3–447) is on, the time
To play the animation of a selected object only:
slider moves to the next keyframe (page 3–690).
1. In a viewport, select a single animated object or Keyframe options are set in the Key Steps group of
a set of animated objects. the Time Configuration dialog (page 3–447).
2. Click Play Selected on the Play/Stop flyout. If Time Configuration dialog > Use TrackBar is
on, Next Key jumps to the next key of any kind. If
Only the selection is animated in the viewport. Use TrackBar is off, Next Key jumps to the next
3. Click the Stop button or press ESC to end transform key, ignoring any other type of keys.
playback.
Interface Go To End
The Play/Stop flyout contains two buttons. Both
Status bar > Time controls > Go To End
buttons become a Stop button when in use.
Keyboard > END
Play—Plays the animation in the currently
active viewport. Go To End moves the time slider (page 3–430)
to the last frame of the active time segment
Play Selected—Plays the animation for (page 3–651). The active time segment is set in
selected objects only in the currently active the Start Time and End Time fields of the Time
viewport. Configuration dialog (page 3–447).
Stop Animation—Replaces the Play button

when an animation is playing. Click to stop the Current Frame (Go To Frame)
playback.
Status bar > Time controls > Current Frame (and Go To

Stop Animation (Selected)—Replaces the Play Frame)
Selected button when an animation is playing.
Click to stop the playback. Current Frame displays the current frame number,
indicating the position of the time slider (page
3–430). You can also enter a frame number in this
field to go to that frame.
Key Mode 447
Procedure
2. Use the Previous Key (page 3–445)
To move to a particular frame, do one of the and Next Key (page 3–446) buttons to move
following:
from one keyframe to the next.
• Type the frame number and press ENTER to go If you are not jumping to the keys, be sure the
to the specified frame. object is selected in the viewport.
• Move the time slider and observe the frame If you are still not jumping to the keys, configure
number updating on the time slider. Key Mode to Use TrackBar, as described in the
• Click or drag the spinner to change the value in following procedure.
the frame number field.
To configure Key Mode:
1. Click Time Configuration, or right-click

Key Mode any animation-control button, including Key
Status bar > Time controls > Key Mode
Mode.
The Time Configuration dialog opens.
Key Mode lets you jump directly between 2. Choose options in the Key Steps group.
keyframes (page 3–690) in your animation. By
default, Key Mode uses the keys visible in the If you turn on Use TrackBar and turn Key Mode
track bar below the time slider. Other options are on, then clicking Next Key advances to the next
available on the Time Configuration dialog (page key for the selected object. This will respect
3–447) in the Key Steps group. every type of key that appears in the track bar.
If you turn Use TrackBar off, only transform
When the Auto Key button on and you change keys are used by key mode.
an object’s creation parameters or performed a
transform (page 3–742), or change a material
or modifier applied to that object, the software Time Configuration
automatically creates a keyframe.
Status bar > Time controls > Time Configuration > Time
Key Mode can respect all keyframes, or you can Configuration dialog
restrict it to move only to transform keys via the
Key Steps options on the Time Configuration The Time Configuration dialog provides settings
dialog. When Key Steps > Use TrackBar is on, Key for frame rate, time display, playback, and
Mode jumps to keyframes of any type. When Use animation (page 3–655). You use this dialog to
TrackBar is off, Key Mode respects only transform change the length of your animation, or stretch or
keys. rescale it. You also use it to set the start and end
frames of the active time segment (page 3–651)
Procedures and your animation.
To use Key Mode:
See also
1. Turn on Key Mode. Setting Time Segments (page 2–679)
The button turns blue when key mode is
active.
Procedures 2. Change the value in Length to be the number of

To define the active time segment: frames you want the action to fill.
3. Click OK.
1. Click Time Configuration.
The animation is rescaled to the new number
2. In the Time Configuration dialog > Animation
of frames.
group, set Start Time to specify the beginning
of your active time segment. This also works to compress animations into a
shorter space of time. To avoid losing frames
during the rescaling, see “To use sub-frame
• Set End Time to specify the end of your animation” in this set of procedures.
active time segment.
To add frames onto your existing animation:
• Set Length to specify the amount of time in
the active time segment and automatically This procedure adds new frames to the end of your
set the correct End Time. animation, without affecting your existing work.
You can enter positive or negative values 1. In the Time Configuration dialog > Animation
in any spinner, but you must use the same group > End Time field, enter the number of
format used by the time display. the last frame of the animation.
You can change the active time segment For example, if your existing animation is 100
without affecting the keys you’ve created. frames long and you want to add 50 frames,
For example, if you have keys scattered over enter 150.
a range of 1000 frames, you can narrow 2. Click OK.
your active time segment to work on only
The number you entered is now the new length
frames 150 to 300. You can only work on
of the animation, shown on the time slider.
the 150 frames in the active segment, but
the remainder of the animation stays intact. To move to an exact time in your animation:
Returning the active segment from 0 to 1000
restores access and playback of all the keys. • In the Time Configuration dialog > Animation
group, enter the frame number in the Current
Changing the active time segment has the Time field, and press ENTER.
following effects: it restricts the range of
time you can use with the time slider, and it The viewport updates to this frame.
restricts the range of time displayed when
To set the frame rate of your animation:
using the animation playback buttons.
In the Time Configuration dialog > Frame Rate
The default setting for the active time
group, do one of the following:
segment runs from frames 0 to 100, but you
can set it to any range. • Choose one of the standard frame rates such
as PAL or NTSC.
To stretch out your existing animation over a longer • Choose Custom, and specify a frame rate in the
time:
FPS (frames-per-second) field.
1. In the Time Configuration dialog > Animation
group, click Re-scale Time.
Time Configuration 449
To configure viewport playback: To play an animation with sound:

• In the Time Configuration > Playback group, • In the Time Configuration > Playback group,
turn on or off the Real Time and Active be sure you have Real Time turned on. If Real
Viewport Only boxes. Time is not on, the sound will not play back
during the animation.
To play your animation in reverse or back and forth:
1. In the Time Configuration > Playback group, Interface
turn off the Real Time. These are the controls for the Time Configuration
2. Choose the direction of the animation playback dialog. You can display this dialog by right-clicking
by selecting Forward, Reverse, or Ping-Pong. any of the time control buttons to the right of the
Auto Key button.
3. Play the animation in the viewport using the
Play button or the / key.
To play your animation only once:

1. In the Time Configuration > Playback group,
turn off Loop.
2. Choose the direction of the animation playback
by selecting Forward, Reverse or Ping-Pong.
3. Play the animation in the viewport using the
Play button or the / key.
The animation will play once and stop.
To play your animation in multiple viewports:

1. In the Time Configuration > Playback group,
turn off Active Viewport Only. Click OK.
2. Play your animation.
The animation now plays in all four viewports.
To use sub-frame animation: Frame Rate group

1. In the Time Configuration > Time These four option buttons, labeled NTSC (page
Display group, turn on FRAME:TICKS or 3–705), Film, PAL (page 3–711), and Custom
MM:SS:TICKS. Click OK. let you set the frame rate (page 3–680) in
frames-per-second (FPS). The first three buttons
2. Move the time slider to set keyframes in
force the standard FPS for that choice. The Custom
between keys.
button lets you specify your own FPS by adjusting
Tip: Use this when you scale an animation down the spinner.
from a longer length to insure that you won’t
lose any keys. You can then move the keys to FPS (Frames Per Second)—Sets the frame rate of
frames and revert to frames without ticks. your animation in Frames per Second. Use frame
rates of 30 fps for video, 24 for film, and lower rates an animation control button or the time slider
for web and media animations. channel. When off, the animation plays once and
then stops. Clicking Play rewinds to the first frame
Time Display group and plays again.
Specifies the method for displaying time in the Direction—Set the animation to play forward,
time slider and throughout the program. Choices reverse, or ping-pong (forward and then reverse,
are Frames or in minutes, seconds and ticks. repeating). This affects only the playback in
Specifies the method for displaying time in the the interactive renderer. It does not apply when
time slider and throughout the program (in rendering to any image output file. These options
frames, in SMPTE, in frames and ticks (page are available only when Real Time is off.
3–738), or in minutes, seconds, and ticks). These settings can be recalled by saving to a
For example, if the time slider is at frame 35, and vizstart.max file.
the Frame Rate is set to 30 fps, the time slider
Animation group
would display the following numbers for the
different Time Display settings: Start Time/End Time—Sets the active time segment
• Frames: 35 (page 3–651) displayed in the time slider. Choose
any time segment before or after frame 0. For
• SMPTE: 0:1:5 example, you can set an active time segment from
• FRAME: TICKS: 35:0 -50 to 250.
• MM:SS: TICKS: 0:1:800 Length—Displays the number of frames in the
SMPTE is the Society of Motion Picture Technical active time segment. If you make this greater than
Engineers standard used to measure time for video the total frames in the active segment, the End
and television production. Time field increases accordingly.
Frame Count—The number of frames that will
Playback group render. Always the length plus one.
Real Time—Real Time (page 3–721) causes Current Time—Specifies the current frame for the
viewport playback to skip frames to keep up with time slider. As you adjust this, the time slider
the current Frame Rate setting. A choice of five moves accordingly and the viewport updates.
playback speeds is available: 1x is normal speed,
1/2x is half speed, and so on. The speed settings Re-scale Time—Stretches or shrinks the animation
affect only the playback in the viewports. for the active time segment to fit into the new time
segment you specify. Relocates the position of all
When Real Time is off, viewport playback occurs keys (page 3–690) in all tracks. As a result, the
as rapidly as possible and displays all frames. animation plays over a greater or lesser number of
Active Viewport Only—Causes playback to occur frames, making it faster or slower.
only in the active viewport. When off, all
viewports display animation. Key Steps group
Loop—Controls whether the animation playback Controls in this group let you configure the
occurs only once, or repeatedly. When on, method used when you turn on Key Mode (page
playback repeats until you stop it by clicking 3–447).
Viewports 451
Use TrackBar—Allows key mode to honor all keys You can choose different views to display in these
in the track bar. This includes any parameter four viewports as well as different layouts from the
animation in addition to transform keys. viewport right-click menu (page 3–453).
To make the following controls available, turn off
Viewport Layouts
Use TrackBar.
You can choose from other layouts different
Selected Objects Only—Considers only the
from the default configuration. To choose a
transforms (page 3–742) of selected objects when
different layout, right-click the viewport label,
you use Key Steps mode. If you turn this off, the
and click Configure. Choose the layout tab of the
transforms of all (unhidden) objects in the scene
Viewport Configuration dialog to see and select
are considered. Default=on.
the alternative layouts.
Use Current Transform—Disables Position,
Rotation, and Scale and uses the current transform Note: When choosing a new viewport layout,
in Key Mode. For example, if the Rotate button is be sure first to click the Maximize Viewport
selected in the toolbar, you stop at each rotation Toggle. Changes you make to the viewport layout
key. If none of the three transform buttons are on, might not be apparent when you have a single,
Key Mode considers all transforms. maximized viewport.
To make the following control available, turn off

Use Current Transform.
Position, Rotation, Scale—Specifies which
transforms are used by Key Mode.
Clear Use Current Transform to make the Position,
Rotation, and Scale check boxes available.
Typical four-viewport layout
Viewports and Viewport Note: The viewport layout is saved with your MAX
Controls file.
Tip: You can change the default viewport layout by
saving a vizstart.max file with the desired viewport
Viewports
configuration and placing it in the \defaults folder
When you start Autodesk VIZ, the main screen (page 3–510).
contains a single Perspective viewport. The major
grid lines are marked to show distance from the Active Viewport Borders
origin at the center.
When four viewports are visible, one viewport,
You can change from a single viewport to four marked with a highlighted border, is always active.
viewports by choosing Maximize Viewport Toggle This is where commands and other actions take
from the viewport controls. effect. Only one viewport at a time can be active.
Other viewports are set for observation only;
unless disabled, they simultaneously track actions world space, regardless of the current reference
taken in the active viewport. When the Auto Key coordinate system.
button is on, the active viewport border changes
The world-space tripod is on by default. To turn off
from yellow to red.
this feature, see “To turn off the world-space tripod
In general, a viewport becomes active as you work in all viewports” in the following procedures.
in it. You can move an object in one viewport,
then drag the same object in another viewport Viewport Tooltips for Object Names
to continue the move. Right-click viewport to
When you’re working with objects in a viewport
activate it without changing the selection. If you
and pause the cursor over any unselected object,
left-click a viewport, the viewport is activated
a tooltip appears with the name of that object. If
and whatever you click is selected. The previous
you need to select something or link to something,
selection is discarded.
wait until you see the tooltip to be sure you have
selected the object you want. These tooltips are
Viewport Labels disabled when you work in sub-object mode.
Viewports are labeled in the upper-left corner.
Tooltips (page 3–537) are on by default. To turn
You can control many aspects of a viewport by
off this feature, see To turn off object name tooltips
right-clicking the viewport label to display the
(page 3–453), below.
viewport right-click menu (page 3–453).
See also
Dynamic Resizing of Viewports
You can resize the four viewports so they are not
of equal proportions. To resize the viewports,
Procedures
press and drag in the center of the four viewports
on the splitter bars. Move the center to change To make a viewport active, do one of the following:
the proportions. To return to the original layout, • Click any viewport.
right-click the intersection of the dividing lines
If you click an object in the viewport, it is
and click Reset Layout from the right-click menu.
selected. If you click a space where there are no
The new viewport proportions are saved in the objects, any selected objects are deselected.
scene. However, they always reset when you • Right-click any viewport.
change the viewport layout (page 3–588).
Right-click activates a viewport without
changing the selection state of objects. (You can
World-Space Tripod
also do this by left-clicking the viewport label.)
To switch between single and multiple viewports:

Activate the viewport you want to minimize or
The three-color world-space tripod is visible maximize, and do one of the following:
in the lower-left corner of each viewport. The
colors correspond to the three axes of world space: • Click the Maximize Viewport Toggle
red=X, green=Y, and blue=Z. The axes are labeled button in the lower-right corner of the
in these same colors. The tripod always refers to Autodesk VIZ window.
Viewport Right-Click Menu 453
To resize the viewports:

1. Press and drag at the center of the four
Viewport Right-Click Menu
viewports on the intersection of the horizontal Right-click any viewport label. > Viewport right-click
and vertical splitter bars. menu
2. Move the center to any new location.

The viewport right-click menu, also referred
3. To reset the viewports, right-click the same to as the Viewport Properties menu, contains
point again and choose Reset Layout from the commands that let you change what is shown
right-click menu. in the active viewport. This is a shortcut menu.
Some of the options are also available on the
To change the number of viewports and their Configuration dialog (page 3–585).
arrangement:
You can do the following from this menu:
1. Right-click any viewport label. Select Configure
from the right-click menu. • Change the view to any available viewport type
(for example, Perspective, Top, Bottom, User,
2. In the Viewport Configuration dialog, click the
Light, Camera, Grid, or Shape).
Layout tab.
When your scene contains cameras or lights
3. Select a layout from the 14 choices at the top
with targets, the viewport right-click menu
of the dialog.
gives you selection options for the components.
4. Assign what each viewport will display in the For example, when you right-click the label
lower window of the dialog. of a target camera viewport, you see two new
5. Click OK to make the change. commands, Select Camera and Select Camera
Target, that let you select the camera or target
To turn off the world-space tripod in all viewports: used by that view.
1. Choose Customize menu > Preferences to • Set the type of shading displayed in the
display the Preferences dialog. viewport (for example, Wireframe, Smooth,
2. Click the Viewports tab. or Edged Faces).
3. In the Viewport Parameters group, turn off • Set how transparency is displayed in the
Display World Axis. viewport.
4. Click OK to make the change. • Undo or redo a view change.
• Turn on texture correction if your display is not
To turn off object-name tooltips: configured for OpenGL or Direct3D.
1. Choose Customize menu > Preferences to • Disable a viewport so it doesn’t update when
display the Preferences dialog. you work in other viewports.
2. Click the General tab. • Toggle the display of the grids, safe frame, and
3. In the UI Display group, turn off Enable viewport background.
Viewport Tooltips. Note: A grid object must be active before you
4. Click OK to make the change. can select it from its viewport.
• Display the Asset Browser, Schematic View or
MAXScript Listener in a viewport.
• Turn on Viewport Clipping. This interactively Tip: You can also press C on the keyboard as a
sets a near and far range for the viewport. shortcut to change any active viewport to an
Geometry within the viewport clipping range existing camera view.
is displayed. Faces outside the range are not
displayed. To change a viewport to a shape view:
Tip: If the viewport right-click menu becomes This procedure requires at least one shape object
disabled, you can restore it by refreshing the UI in your scene.
scheme. Use Customize menu > Load Custom 1. Right-click a viewport label.
UI Scheme (page 3–527) to load a different .cui
2. Choose Views > Shape from the menu.
file, then reload the original .cui file again. The
right-click viewport menu will become available To use viewport clipping:
after either the new or original UI scheme is
1. Right-click a viewport label.
loaded.
2. Choose Viewport Clipping (page 3–586).
Procedures The viewport displays the viewport clipping
To hide or show the home grid, do one of the controls.
following:
3. Move the lower slider up until the geometry is
• Choose Views menu > Grids, and click Show clipped in the viewport by the near clipping
Home Grid. plane.
• Right-click a viewport label. 4. Adjust the upper slider to clip the geometry
Click Show Grid to reverse the current display with the far clipping plane.
of the home grid in that viewport.
To display the Asset Browser or MAXScript Listener
• Keyboard > G (for single viewport); in a viewport:
To change a viewport to Camera view: 1. Right-click any viewport label to access the
Views flyout menu.
Note: This procedure requires at least one camera
object in your scene. 2. Click Extended > Asset Browser or MAXScript
Listener.
1. Right-click a viewport label.
The tool is displayed in a dedicated viewport.
2. Click Views.
3. Choose one of the cameras in the Views list. To access the Layout panel, do one of the following:
This assigns the camera to the viewport and • Choose Customize menu > Viewport
changes the label to the camera name. Configuration, then click the Layout tab.
A camera viewport tracks the view through the • Right-click a viewport label, and choose
perspective of that camera. As you move the Configure, then click the Layout tab.
camera (or target) in another viewport, you see
the scene swing accordingly. If you alter the To turn on safe frame display, do one of the following:
camera’s field of view (page 3–463), you see the • Right-click a viewport label, and then choose
changes as they are applied. Show Safe Frame.
• Keyboard > SHIFT+F
Viewport Right-Click Menu 455
• Choose Customize menu > Viewport Views—Displays a secondary menu that allows you
Configuration > Safe Frames panel, and turn to choose another view to display in the viewport
on Show Safe Frames In Active View. (Front, Top, Back, etc.).
See Safe Frames (page 3–589). Available views included are:
To fix texture display problems in a viewport:

• Camera views (page 3–467) (if the scene
contains cameras)
• Right-click a viewport label, and then choose
Texture Correction. This applies only to the • Light views (page 3–471) (if the scene contains
software display driver; OpenGL and Direct3D spotlights or directional lights)
displays automatically correct texture display. • Perspective (page 3–460)
Tip: If you have materials with texture maps that • User
are not displaying in the viewport, you need to • Front
turn on Show Map In Viewport in the Material
• Back
Editor for each material that has this problem.
• Top
To change quickly between snap options:
• Bottom
1. With nothing selected, hold SHIFT and
• Left
right-click anywhere in the viewport.
• Right
The Snaps shortcut menu is displayed.
• Schematic: Choose an existing Schematic view
2. Choose any of the Standard snap options. You
(page 3–300), if any, from the sub-menu, or
can also toggle whether snaps use transform
choose New to create a new one. To change a
constraints.
viewport when it contains a Schematic view,
right-click the menu bar and choose a different
Interface view.
• Grid (page 2–635): Choose Front, Back, Top,
Bottom, Right, Left, or Display Planes. For
details, see Viewing Grid Objects (page 2–622).
• Extended
• Asset Browser (page 3–117)
• MAXScript Listener (page 3–502)
• HW Standard Material
• Shape: Automatically aligns view to the extents
of a selected shape and its local XY axes
The fastest way to change the viewport display
is with keyboard shortcuts. Press V to open the
Viewports quad menu. You can then choose from
this menu or use the first letter of the viewport
label as the keyboard shortcut (F for Front, for • Bounding Box—Displays objects as a bounding
example. The exception is K for back). box (page 3–663) only.
Note: This menu appears at the mouse cursor, but Edged Faces—Available only when the current
it controls the view for the active viewport, even if viewport is in a shaded mode. Displays the
the mouse cursor is over a different viewport. wireframe edges of objects along with the shaded
Smooth+Highlights—Displays the smoothness and surfaces. This is helpful for when you want to edit
lighting of objects. You can also display maps on meshes in a shaded display.
the surface of objects. See Show Map in Viewport Edges are displayed using the object wireframe
(page 2–1074). This happens on a map-by-map color, while surfaces use material colors (if
basis, but you can display as many maps as you assigned). This lets you create contrasting colors
want simultaneously in the viewport. Maps only between the shaded surfaces and the wireframe
display on objects that have mapping coordinates. edges. You can switch these assignments in the
Also Show Map In Viewport must be turned on Display Color rollout (page 1–49).
for each map individually in the Material Editor.
Transparency—Sets the quality of transparency
Note: This and other shaded viewport options display in the selected viewport:
support self-illuminated materials and 32 lights
(depending on display mode and graphics card). • Best—Highest quality transparency display;
longer redraw time.
Wireframe—Displays objects as edges only, as
• Simple—Less accurate transparency display,
if they were made from wire. Wire color is
however viewport redraw is considerably faster
determined by object color (default).
with Simple.
Other—Displays a cascading menu of other • None—Transparency is not displayed in the
shading modes. These include: viewport.
• Smooth—Displays smoothing, but doesn’t show Note: The Transparency setting only affects
highlights. viewport display, and does not affect renderings.
• Facets+Highlights—Displays highlights, but
Show Grid—Turns on and off the display of the
doesn’t show smoothing.
home grid. Does not affect other grid display.
• Facets—Shades faces, but doesn’t display
smoothing or highlights. Keyboard > G
• Flat—Renders each polygon in its raw, Show Background—Turns on and off the display of
unshaded diffuse color, disregarding any any viewport background image (or animation).
contribution from ambient lighting or light To specify an image, choose Views menu >
sources. This rendering method is useful when Viewport Background.
it’s more important to see each polygon than to Tip: The keyboard shortcut for the Viewport
see its shading. It’s also a good way to check Background dialog is ALT+B.
the results of bitmaps created with Render to
Show Safe Frame—Turns on and off the display
Texture (page 2–1437).
of safe frames (page 3–744). You define the safe
• Lit Wireframe—Displays edges as wireframe, frames in the Viewport Configuration dialog (see
but shows lighting. Configure, below). The safe frame proportions
Viewport Controls 457
conform to the Width and Height of the output

size of your rendering image output. Viewport Controls
Viewport Clipping—Interactively sets a near and
At the right end of the status bar are the buttons
far range for the viewport. Geometry within the that control the display and navigation of the
viewport clipping range is displayed. Faces outside viewport.
the range are not displayed. This is useful in
complex scenes where you want to work on details
that are obscured from view. Turning on viewport
clipping displays two yellow slider arrows on the
edge of the viewport. Adjusting the lower arrow
Some of the buttons change for camera and light
sets the near range, and the upper arrow sets the
viewports. The Field Of View button changes for
far range. Tick marks indicate the extents of the
Perspective viewports.
viewport. Viewport Clipping can also be turned
on and off in the Viewport Configuration dialog The state of the navigation-button flyouts for all
(page 3–585). viewport types is saved in the [Performance]
section of the 3dsviz.ini file.
Texture Correction—Redraws the viewport using
pixel-interpolation (perspective corrected).
Viewport Navigation Controls
Note: This is for the software display driver only.
The navigation controls depend on the active
If you are using the OpenGL or Direct3D display
viewport. Perspective, orthographic, camera,
mode, texture correction is automatic.
and light viewports all have specialized controls.
Disable View—Disables the active viewport. A Orthographic includes User viewports as well as
disabled viewport behaves like any other viewport viewports like Top, Front, and so on. The Zoom
while it is active. However, when you change the Extents All flyout and Maximize Viewport Toggle,
scene in another viewport, the view in the disabled available in all viewports, are included with the
viewport does not change until you activate it. Use perspective and orthographic viewport controls.
this function to speed up screen redraws when you
Many of these controls are modal (page 3–701),
are working on complex geometry.
meaning they stay on for repeated use. The buttons
Keyboard > D highlights when on. To turn them off, press ESC,
right-click in a viewport, or choose another tool.
Undo—Undoes the last viewport change.
Redo—Cancels the last viewport undo. Controls Available in All Viewports

Configure—Displays the Viewport Configuration
Zoom Extents All, Zoom Extents All Selected
dialog (page 3–585), which contains many options
(page 3–459)
for further control of the viewports.
Maximize Viewport Toggle (page 3–459)
Perspective and Orthographic Viewport

Controls Truck Camera (page 3–470)
Walk Through (page 1–28)
Perspective and Orthographic Viewport Controls

(page 3–460) Orbit/Pan Camera (page 3–470)
Light Viewport Controls

Zoom Viewport (page 3–461)
Zoom All (page 3–461)
Zoom Extents / Zoom Extents Selected (page Light Viewport Controls (page 3–471)
3–462)
Dolly Light, Target, or Both (page
Field-of-View Button (page 3–463) 3–472)
(Perspective) or Zoom Region (page 3–464)
Light Hotspot (page 3–473)
Pan View (page 3–465)
Roll Light (page 3–475)
Walk Through (page 1–28)
Light Falloff (page 3–475)
Arc Rotate, Arc Rotate Selected, Arc Rotate
Sub-Object (page 3–466) Truck Light (page 3–476)
Camera Viewport Controls

Orbit/Pan Light (page 3–477)
Camera Viewport Controls (page 3–467)
Dolly Camera, Target, or Both

(page 3–467)
Perspective (page 3–468)
Roll Camera (page 3–469)
Field-of-View Button (page 3–463)

Zoom Extents All, Zoom Extents All Selected 459
Interface
Controls Available in All Zoom Extents All—Centers and magnifies
Viewports views so all the visible objects in the scene are
shown in all viewports.
Zoom Extents All, Zoom Extents Zoom Extents All Selected—Centers and
magnifies views so just the selected objects or
sub-object selections in the scene are shown in all
All Selected viewports. If no objects are selected, the effect is
Activate any viewport. > Viewport Navigation controls
the same as Zoom Extents All.
> Zoom Extents All flyout
Keyboard > SHIFT+CTRL+Z

Maximize Viewport Toggle
The Zoom Extents All flyout is available in all
Activate any viewport. > Viewport navigation controls>
viewports. The flyout has two options: Maximize Viewport Toggle
• Zoom Extents All centers all visible Keyboard > ALT+W
objects in all viewports. This control is useful

when you want to see every object in a scene in Maximize Viewport Toggle switches any active
every available viewport. viewport between its normal size and full-screen
size.
• Zoom Extents All Selected centers Tip: The keyboard shortcut ALT+W is especially
a selected object, or set of objects, in all useful for quick toggles.
viewports. This control is useful when you want
to navigate to small objects lost in a complex
scene.
Procedures Walkthrough Controls for

To zoom all objects in a scene:
Perspective and Camera
1. Activate any viewport.
Viewports
2. Click Zoom Extents All.
The viewports display all objects in the scene. Pan/Truck and Walkthrough
To zoom on a specific object:
Flyout
1. In any viewport, select the object by clicking it,
or press H to select it by name.
2. Click Zoom Extents All Selected.

In Perspective and Camera viewports, this flyout
The viewports display the selected object. offers two separate buttons:
• Walk Through
Perspective and
• Pan or Truck Orthographic Viewport
The Walk Through button (page 3–460) is one way Controls
to turn on walkthrough navigation (page 1–28).
Right-click any viewport label. > Views > Choose a
The use of the Pan or Truck button depends on perspective or orthographic view.
which kind of viewport you are in: Right-click any viewport label. > Views > Grid > Choose
any grid view.
• Perspective viewports (Pan) (page 3–465)
Select a shape. > Right-click any viewport label. > Views
• Camera viewports (Truck Camera) (page > Shape
3–470)
Keyboard > V (to open the Viewports quad menu), then
This flyout doesn’t appear for orthographic P (Perspective), U (User), F (Front), K (Back), T (Top), B
(Bottom), L (Left)
viewports or spotlight viewports. These viewports
don’t provide walkthrough navigation.
Perspective, orthographic, user, grid, and shape
viewports all share the same viewport controls.
Walk Through Button

The Walk Through button is one way to begin
walkthrough navigation (page 1–28). (The other
is to press UP ARROW.) It is available on the Perspective and orthographic viewport controls
Pan/Truck And Walkthrough flyout (page 3–459). include the following. Two of these controls are
available in all viewports.
The flyout and button don’t appear for
orthographic viewports or for spotlight viewports. Zoom Viewport (page 3–461)
These don’t provide walkthrough navigation. Zoom All (page 3–461)
Zoom Extents / Zoom Extents Selected (page
3–462) (available in all viewports)
Zoom Region (page 3–464)
Pan View (page 3–465)
Arc Rotate, Arc Rotate Selected, Arc Rotate
Sub-Object (page 3–466)
Maximize Viewport Toggle (page 3–459) (available
in all viewports)
Zoom Viewport 461
Procedure Procedures
To undo changes to a perspective or orthographic To zoom a view:
viewport, do one of the following:
1. Activate a Perspective or Orthographic
• Right-click the viewport label and choose viewport.
Undo. The type of Undo is specifically named
on the menu (for example, Undo Zoom 2. Click Zoom.
Extents). The button highlights when it is on.
• Press SHIFT+Z. 3. Drag in a viewport to change magnification.
Note: This is different from camera and light
• Drag up to increase magnification.
viewports, which require the use of Undo on
the main toolbar, or CTRL+Z. • Drag down to decrease magnification.
4. Press ESC or right-click to turn off the button.
To increase zoom speed:

Zoom Viewport
• Hold down CTRL while you drag in a viewport.
Activate a Perspective or Orthographic viewport. >
Viewport Navigation controls > Zoom
To decrease zoom speed:
Keyboard > Z turns on Zoom ; [ zooms in; ] zooms out
• Hold down ALT while you drag in a viewport.
Keyboard > CTRL+ALT+middle mouse button
To turn on an automatic zoom mode:
Roll your mouse scroll wheel.
• On the keyboard, hold down CTRL+ALT, then
hold down the middle mouse button and drag
Zoom adjusts view magnification when you drag
in a viewport. This does not activate the Zoom
in a Perspective or Orthographic viewport. By
button.
default, the zoom is in and out of from the pointer
of your mouse.
To zoom to the cursor position:
Tip: If you use the Microsoft IntelliMouse or a
• On the keyboard, press [ (left bracket) to zoom
compatible pointing device, you can roll the wheel
in, and ] (right bracket) to zoom out.
to zoom in and out in the active viewport. The
zoom center is the current cursor position.
Zoom moves incrementally, based on the distance Zoom All
between the Perspective view and its “virtual
target,” an inaccessible hidden target used for Activate a Perspective or Orthographic viewport. >
Viewport Navigation controls > Zoom All
calculation purposes only. Use the CTRL and ALT
keys to increase or decrease the increments. You
Zoom All lets you adjust view magnification in all
can move the virtual target by holding down the
Perspective and Orthographic viewports at the
SHIFT key during a zoom operation. Otherwise
same time.
you will zoom increasingly closer to the target,
which will not move. By default, Zoom All zooms in and out of the
center of the viewports.
Procedures control is useful when you want to see every object

To zoom all views: in a scene in a single viewport.

Zoom Extents Selected centers a selected
viewport.
object, or set of objects, in an active Perspective
and Orthographic viewport. This control is useful
2. Click Zoom All.
when you want to navigate to small objects lost in
The button highlights when it is on. a complex scene.
3. Drag in a viewport to change magnification in
all viewports. Procedures
• Drag up to increase magnification. To zoom all objects in one viewport:
• Drag down to decrease magnification. 1. Activate the Perspective or Orthographic

viewport you want to zoom.
2. Click Zoom Extents.

To zoom all viewports except the Perspective
viewport: The viewport displays all objects in the scene.
1. Hold down the SHIFT key and click Zoom All.
To zoom on a specific object:
2. Drag in a viewport to zoom all the viewports
1. Activate the Perspective or Orthographic
except the Perspective.
viewport you want to zoom.
Note: You can drag in a Perspective viewport,
2. Select the object by clicking it, or press H to
but you only see the zoom in Orthographic
select it by name.
viewports.
3. Click Zoom Extents Selected.
Zoom Extents / Zoom Extents The viewport displays the selected object.
Selected To exclude an object from Zoom Extents:
Activate a Perspective or Orthographic viewport. > Use this procedure, for example, to ignore lights
Viewport Navigation controls > Zoom Extents flyout
that are far away from the other objects in the
scene.
1. Click an object to select it.
2. Right-click the object and choose Properties.
3. In the Display Properties group, make sure
properties are set to By Object.
The Zoom Extents flyout displays the Zoom
Extents button and the Zoom Extents Selected 4. Turn on Ignore Extents.
button. The object will now be excluded by Zoom
Extents and Zoom Extents Selected.
Zoom Extents centers all visible objects in an
active Perspective or Orthographic viewport. This
Field of View Flyout 463
Interface • As the FOV gets larger, you see more of your

scene and the perspective becomes distorted,
Zoom Extents—Centers and magnifies views similar to using a wide-angle lens.
so all the visible objects in the scene are shown in
• As the FOV gets smaller, you see less of your
a single viewport.
scene and the perspective flattens, similar to
Objects can be excluded from zoom extents all if using a telephoto lens.
the Ignore Extents box is turned on under Object
Properties.
Zoom Extents Selected—Centers and

magnifies views so just the selected objects or
sub-object selections in the scene are shown in
a single viewport. If no objects are selected, the
effect is the same as Zoom Extents.
Field of View Flyout

Activate Perspective viewport. > Status bar > Viewport Above: Narrow field of view
controls > Field of View flyout
Below: Wide field of view
The Field of View flyout is available only for Although the effect of Field-of-View appears
Perspective viewports. The flyout has two options: similar to a zoom, the perspective is actually
changing, resulting in increased or decreased
• Field of View (FOV) (page 3–463): Adjusts distortion in the viewport.
the amount of the scene that is visible in a
In a Perspective viewport, Field-of-View defines
viewport and the amount of perspective flare.
the width of your view as an angle with its apex
• Zoom Region (page 3–464): Magnifies a at your viewpoint and the ends at the sides of the
rectangular area you drag within a viewport. view.
In a Camera viewport, Field-of-View controls the
width of the area a camera views, and represents
Field-of-View Button the arc of the camera’s horizon in degrees. For a
selected camera, you can adjust its FOV and Lens
Activate a Camera viewport. > Viewport controls >
Field-of-View parameters (page 2–1003) directly to fine-tune the
FOV you set in the viewport. See “To use FOV with
Activate a Perspective viewport. > Viewport controls >
Field-of-View (on Field-of-View flyout) Camera parameters” in the following procedures.
Field-of-View (FOV) adjusts the amount of the Procedures

scene that is visible in a viewport and the amount To adjust the field of view in a viewport:
of perspective flare. The effect of changing FOV is
1. Activate a Perspective or Camera viewport.
similar to changing the lens on a camera:
2. Click Field-of-View.
The button highlights in gold when it is on.

3. Drag in the viewport to adjust the FOV angle. Zoom Region
• Dragging down widens (increases) the FOV Activate an Orthographic viewport. > Viewport
angle, reduces lens length, displays more of navigation controls > Zoom Region
your scene, and exaggerates perspective. Activate a Perspective viewport. > Viewport navigation
controls > Zoom Region (from Field of View flyout)
• Dragging up narrows (decreases) the FOV
angle, increases lens length, displays less of Keyboard > CTRL+W
your scene, and flattens perspective.
Zoom Region magnifies a rectangular area you
drag within a viewport. This control is available
To enter an FOV value in a Perspective view: only when the active viewport is an Orthographic
(page 3–710), Perspective (page 3–713) or
1. Activate a Perspective viewport.
User-Axonometric view (page 3–659). It is not
available for Camera viewports.
2. Right-click Field-of-View to display the
Viewport Configuration dialog. Zoom Region stays active until you right-click or
3. Click the Rendering Method tab.
select another command.
4. In the Perspective User View group, enter an Procedures

angle in the FOV field.
To zoom a region:
5. Click OK to make the change.
1. Activate an Orthographic or Perspective
To use FOV with Camera parameters: viewport.
1. Activate a Camera viewport.
2. Click Zoom Region or press CTRL+W.
2. Press H and select the viewport’s camera in the
When you zoom a region in a perspective
Select Objects dialog. viewport, select Zoom Region from the Field of
3. Open the Modify panel to view the camera’s View flyout.
Parameters rollout. 3. Drag a rectangular region in any viewport
4. As you drag Field-of-View in the viewport, the displaying a non-camera view.
FOV and Lens parameters update interactively. When you release, the region is magnified to
5. Set the FOV and Lens parameters directly, or fill the viewport.
click a button in the Stock Lenses group. Note: When using the Zoom Region in
Note: Only the FOV value is saved with the Perspective view, the zoom rectangle is at a
camera. The Lens value (focal length) is fixed distance from the camera. For this reason,
another way to express and select the FOV. if you draw the rectangle large enough, you can
zoom out from the scene.
See Common Camera Parameters (page
2–1003).
Note: Using the Perspective button (page 3–468)
in a Camera viewport also changes the FOV in
concert with dollying the camera.
Pan View 465
• Press CTRL+P.
Pan View • Press the middle mouse button.
Activate a Perspective or Orthographic viewport. > 3. Drag in the viewport in the direction you want
Viewport Navigation controls > Pan View to move, or use the arrow keys.
Keyboard > CTRL+P; I pans so the cursor location
becomes the center of the viewport. To accelerate panning:
Middle mouse button > Drag in the viewport with the • Hold down the CTRL key as you pan.
middle mouse button for instant access to pan the
viewport.
To constrain panning to a single axis:
Pan moves the view parallel to the current • Hold down the SHIFT key as you pan.
viewport plane. The pan is constrained to the first axis you use.
Pan is modal (page 3–701): it stays active until you If you drag vertically at first, the pan or orbit
right-click or select another command. is constrained to be vertical; if you drag
horizontally at first, the constraint is horizontal.
To constrain panning of any viewport to a single
axis, hold down the SHIFT key. The pan is
constrained to the axis you first move while the
Arc Rotate Flyout
SHIFT key is down.
To accelerate panning, hold down the CTRL key. Viewport Navigation controls > Arc Rotate flyout
You can also pan by dragging in a viewport while Keyboard > ALT+middle mouse button
pressing the middle button of a three-button
mouse. This lets you pan without turning on the
Pan button.
Procedures
To pan a viewport:

viewport, and then click Pan View. The Arc Rotate flyout displays the Arc Rotate
2. Drag in the viewport in the direction you want button, the Arc Rotate Selected button, and the
to move. Arc Rotate Sub-Object button. Use these to rotate
your viewpoint around the view.
For more information on these tools, see Arc
To pan a non-Camera viewport: Rotate, Arc Rotate Selected, Arc Rotate Sub-Object
1. Activate a Perspective or Orthographic (page 3–466).
viewport.
• Click Pan View.

A view rotation “trackball” is displayed as

Arc Rotate, Arc Rotate Selected, a yellow circle with handles placed at the
Arc Rotate Sub-Object quadrant points.
3. Drag the mouse on and around the trackball to
Viewport Navigation controls > Arc Rotate flyout produce different types of view rotations. The
cursor changes to indicate what type of rotation
Keyboard > ALT+middle mouse button you are about to perform.
The Arc Rotate buttons, on the Arc Rotate flyout • Drag the handles to keep the rotation either
(page 3–465), spin the viewpoint freely around a horizontal or vertical. Drag horizontally on
center. the side handles, or vertically on the top or
bottom handle.
Three Arc Rotate variants are available: Arc Rotate,
• Drag inside the trackball to rotate the view
Arc Rotate Selected, and Arc Rotate Sub-Object.
freely within the viewport. The free rotation
Arc Rotate is modal (page 3–701): it remains active continues while dragging even if the cursor
until you right-click or choose another command. crosses outside the trackball.
• Drag outside the trackball to rotate the view
about the depth axis that is perpendicular
Arc Rotate respects Angle Snap (page
to the screen. When the cursor crosses
2–653). If you turn on Angle Snap, the Arc Rotate
inside the trackball during dragging, free
mouse pointer displays a magnet, and the rotation
rotation occurs. When the cursor crosses
snaps by the Viewport Arc Rotate Snap Angle
back outside the trackball, spinning rotation
setting.
is again in effect.
Arc Rotation used a hidden “virtual target” as
4. Press ESC or right-click to end Arc Rotate.
the point which is used for the center of rotation.
Holding the CTRL key down in Arc Rotate To constrain rotation to a single axis:
mode has a special behavior: It does a rotation
• Hold down the SHIFT key as you rotate.
of the scene around the screen’s X and Y axis
(at the position of the virtual target). Move the The rotation is constrained to the first axis you
mouse horizontally yields rotation around world use.
coordinates referential Z-axis. User moves the
mouse vertically yields rotation around screen To rotate with keyboard and mouse:
coordinates referential X-axis. This differs from • Hold down the SHIFT key as you rotate.
standard Arc Rotate, when horizontal mouse
The rotation is constrained to the first axis you
movement rotates around screen coordinates
use.
referential Y-axis.
Interface
Procedures
To use Arc Rotate: Arc Rotate—Uses the view center as the center
of rotation. If objects are near the edges of the
viewport, they may rotate out of view.
viewport.
2. Click any of the three Arc Rotate buttons.
Camera Viewport Controls 467
Activate a Camera view from the viewport

Arc Rotate Selected—Uses the center of the
right-click menu, under Views. If the scene
current selection as the center of rotation. The
contains more than 10 cameras, the last entry in
selected object remains at the same position in
the list is "More Cameras.” Choose this to display
the viewport while the view rotates around their
the Choose A View dialog, which shows the
center.
complete list.
Arc Rotate SubObject—Uses the center of If a single camera is selected and you press C, the
the current sub-object selection as the center active viewport switches to the view from that
of rotation. The selection remains at the same camera. If, when you press C, the scene contains
position in the viewport while the view rotates more than one camera and no camera or multiple
around its center. cameras are selected, the Select Camera dialog
appears; choose a camera from the list.
Procedure
To undo changes to a Camera viewport, do one of
Camera Viewport Controls the following:
Right-click any viewport label. > Views > Choose a • Click Undo on the main toolbar.
camera.
Keyboard > C
• Press CTRL+Z.
Note: This is different behavior from
A Camera viewport shows the view from a camera, orthographic viewports, which require the use
looking in the direction it’s aimed. of Views menu > Undo, or SHIFT+Z.
Dolly Camera, Target, or Both

Camera viewport controls include the following.
Two of these controls are available in all viewports.
Activate a Camera viewport. > Viewport navigation
Dolly Camera, Target, or Both (page 3–467) controls > Dolly Camera or Dolly Target or Dolly Camera
+ Target
Perspective (page 3–468)
The buttons on this flyout replace the Zoom
Roll Camera (page 3–469)
button when a Camera viewport is active. Use
Zoom Extents All, Zoom Extents All Selected them to move the camera and/or its target along
(page 3–459) (available in all viewports) the camera’s main axis, toward or away from what
the camera is pointing at.
Truck Camera (page 3–470)
Orbit/Pan Camera (page 3–470)
in all viewports)
Interface
The Dolly Camera flyout consists of the

following individual buttons:
Dolly Camera—Moves only the camera to and

from its target. If you go past the target, the camera
flips 180 degrees and moves away from its target.
Dollying a camera
Dolly Target—Moves only the target to and
A free camera moves along its depth axis in the from the camera. You see no visual change in the
direction its lens is pointing. Unlike a target camera viewport, unless you dolly the target to
camera, its target distance remains fixed, no matter where it passes through the camera to the other
how far you dolly. side, at which point the camera view is reversed.
Note: The three buttons of the Dolly Camera flyout However, changing the relative position of the
are available when a target camera viewport is target to the camera affects other adjustments,
active. When a free camera viewport is active, the such as Orbit Camera, which uses the target as its
button appears as a flyout, but only Dolly Camera rotational pivot.
is available for this type of camera. If you activate This option is available only if the viewport’s
a target camera viewport, the three buttons are camera is a target camera.
again available.
Dolly Camera + Target—Moves both the target
See also
and the camera to and from the camera.
Dolly Light, Target, or Both (page 3–472)
This option is available only if the viewport’s
camera is a target camera.
Procedure
To dolly a camera:
1. Activate a Camera viewport. Perspective
2. Click one of the buttons on the Dolly Camera
flyout. controls > Perspective
3. Drag to move the camera.
Perspective performs a combination of FOV
• Drag up to move the camera forward along
(page 3–674) and Dolly (page 3–467) for target
its line of sight.
cameras and free cameras. It increases the
• Drag down to move the camera backward amount of perspective flare, while maintaining the
along its line of sight. composition of the scene.
Roll Camera 469
• Drag down to move the camera away from

its target, narrow the FOV, and decrease
perspective flare.
Roll Camera
controls > Roll Camera
Roll Camera rotates a target camera about its line

Adjusting perspective
of sight, and rotates a free camera about its local
Z axis.
Note: This button replaces the Zoom All button
when a Camera viewport is active.
Tip: Hold down the CTRL key to magnify the effect
of the mouse on perspective adjustment.
A target camera can pass through its target object
while you are using Perspective. When this
happens, the FOV reaches its maximum angle
of 180 degrees at the target location and cursor
motion is reversed until you release the drag.
A free camera continues moving along an infinite
path but uses an implied target position to control
the FOV change rate. This implied target is defined Rolling a camera
as a point specified by the Target Distance field in
the Parameters rollout for the free camera. Note: This button replaces the Zoom Extents
button when a Camera viewport is active.
Procedure
To change perspective for a camera:
Procedure
To roll a camera:
2. Click Perspective.
2. Click Roll Camera.
The button turns yellow when it is on.
The button highlights when it is on.
3. Drag to change FOV and dolly simultaneously.
3. Drag horizontally to roll the view.
• Drag up to move the camera closer to
its target, widen the FOV, and increase 4. Press ESC or right-click to turn off the button.
perspective flare.
The truck is constrained to the first axis you

Truck Camera move while the SHIFT key is down.
Activate a Camera viewport. > Viewport navigation To accelerate trucking:

controls > Truck Camera
• Hold down the CTRL key.
Truck Camera moves the camera parallel to the
view plane.
Orbit/Pan Camera
controls > Orbit Camera
Orbit Camera rotates a camera about the target.

Pan Camera rotates the target about the camera.
Trucking a camera
For a target camera, dragging the mouse moves

both the camera and its target parallel to the
Camera view.
This button replaces the Pan button when a
Camera viewport is active.
Procedure Orbiting a camera
To truck a camera:
2. Click Truck Camera.

3. Drag to move the camera and its target.
The camera and its target move parallel to
the view plane, which is perpendicular to the
camera’s line of sight.
Panning a camera
To constrain trucking to a single axis:
• Hold down the SHIFT key.
Light Viewport Controls 471
Note: This button replaces the Arc Rotate button • Press SHIFT and drag horizontally to lock
when a Camera viewport is active. view rotation about the world Y axis. This
produces a horizontal orbit.
You can constrain the rotation to a single axis by
first pressing SHIFT before beginning the rotation. • Press SHIFT and drag vertically to lock
The rotation is constrained to the axis you begin rotation about the world X axis. This
rotating about. produces a vertical orbit.
To accelerate panning, hold down the CTRL key 4. Press ESC or right-click to turn off the button.
before you pan.
Interface
Procedures
Orbit Camera—Rotates a target camera about
To pan a camera: its target. Free cameras use the invisible target,
1. Activate a Camera viewport. set to the target distance specified in the camera
Parameters rollout.
2. Click Pan Camera.
Pan Camera—Rotates the target about a target
camera. For a free camera, rotates the camera
3. Drag to rotate the view about the camera. about its local axes.
• Dragging rotates the view freely using the
world X and Y axes.
• Press SHIFT and drag horizontally to lock
view rotation about the world Y axis. This
produces a horizontal pan. Light Viewport Controls
• Press SHIFT and drag vertically to lock Right-click any viewport label. > Views > Choose a light.
rotation about the world X axis. This
Keyboard > $
produces a vertical pan.
4. Press ESC or right-click to turn off the button. A Light viewport shows the view from a spotlight
or directional light, looking at its target.
To pan with the middle mouse button:
• Hold down the middle mouse button and drag.
Pan mode is automatically switched on.
To orbit a camera: Light viewport controls include the following. Two

of these controls are available in all viewports.
Dolly Light, Target, or Both (page 3–472)
2. Click Orbit Camera.
Light Hotspot (page 3–473)
3. Drag to rotate the view around the target.
Roll Light (page 3–475)
world X and Y axes. Zoom Extents All, Zoom Extents All Selected
(page 3–459) (available in all viewports)
Light Falloff (page 3–475) Note: This is different from orthographic

viewports, which require the use of Views menu
Truck Light (page 3–476)
> Undo, or SHIFT+Z.
Orbit/Pan Light (page 3–477)
in all viewports) Dolly Light, Target, or Both
For photometric lights (page 2–941), the Light Activate a Light viewport. > Viewport navigation controls
Hotspot control actually adjusts the beam angle. > Dolly Light
At the beam angle, the light is 50 per cent of the

maximum intensity. Dolly Light, on the Dolly Light flyout (see below)
moves the light or its target or both along the
Targeted photometric lights can be used as views light’s main axis, toward or away from what the
only when the light’s distribution is set to spotlight. light is pointing at. A free light moves along its
Warning: Switching to or from a light view clears the depth axis in the direction its lens is pointing. On
Undo/Redo lists. a target light, the target distance remains fixed, no
matter how far you dolly.
Procedures
To set a Light viewport:
1. Activate the viewport you want to show the
view from a spotlight or directional light in the
scene.
• Press the keyboard shortcut $.
• Right-click the Viewport label. Choose
Views and then choose the light from the
Views submenu.
3. If you have more than one spotlight or
Dollying a light
directional light in the scene (and none is
selected), the Select Light dialog is displayed: When you dolly a light, the light source moves
choose the light you want. closer to and away from its target. Because
spotlights have conical beams, dollying a spotlight
4. If there are more than 10 lights listed, the last
closer to its target shrinks the area illuminated at
entry is "More Lights." Choose this to display
the target. Similarly, dollying a spotlight away from
the Choose a View dialog, which shows the
its target expands the area illuminated at the target.
complete list.
The three buttons of the Dolly Light flyout are
To undo changes to a Light viewport, do one of the available when a target light viewport is active.
following:
When a free light viewport is active, the button
appears as a flyout, but only Dolly Light is available
1. Click Undo on the main toolbar.
for this type of light. If you activate a target light
2. Press CTRL+Z. viewport, the three buttons are again available.
Light Hotspot 473
The buttons on this flyout replace the Zoom button This option is available only if the viewport’s light
when a Light viewport is active. is a target light.
See also Dolly Light + Target—Moves both the target

Dolly Camera, Target, or Both (page 3–467) and the light to and from the light.
This option is available only if the viewport’s light
Procedure is a target light.
To dolly a light:
1. Activate a Light viewport.
Light Hotspot
2. Click Dolly Light.
Activate a Light viewport. > Viewport navigation controls
The button highlights when it is on. > Light Hotspot
3. Drag to move the light.

Light Hotspot lets you adjust the angle of a light’s
• Drag up to move the light forward along its hotspot (page 3–686). This button replaces the
line of sight. Zoom All button when a light viewport is active.
• Drag down to move the light backward
along its line of sight.
Interface
The Dolly Light flyout consists of the

following buttons:
Dolly Light—Moves only the light to and from The floodlight has a narrow hotspot but a wide falloff area.
its target. If you go past the target, the light flips
180 degrees and moves away from its target.
Dolly Target—Moves only the target to and

from the light. You see no visual change in the light
viewport, unless you dolly the target to where it
passes through the light to the other side, at which
point the light view is reversed. However, changing
the relative position of the target to the light affects
other adjustments, such as Orbit Light, which uses
the target as its rotational pivot.
Procedure
To change a light’s hotspot:
1. Set up a Perspective viewport so you can see
the light in 3D space.
3. Press H to display the Select Objects dialog.
Select the light.
The light and its cones should be visible in the
Perspective viewport.
4. Click Light Hotspot.

Widening the hotspot creates a brighter light.
Click this button, then move the mouse in the light
5. Drag in the Light viewport to change the
viewport to make the cone of the hotspot narrower
or wider (the hotspot cone is shown in blue, the hotspot angle.
falloff (page 3–686) cone is in gray). The blue hotspot cone expands and contracts
as you drag.
Hold down the CTRL key while moving the mouse
to lock the initial angle separation of the hotspot • Drag down to widen (increase) the hotspot
and falloff cones. angle and illuminate more of the scene. The
hotspot grows inside the falloff as its angle
You can’t adjust the hotspot larger than the falloff, increases. By default, the hotspot can be no
because that would change the falloff value. larger than the falloff cone.
Likewise, when you reduce the falloff, it stops at
the hotspot size (in both cases, separated by the • Hold down SHIFT as you drag to override
Angle Separation (page 3–540), specified on the the default. This lets the falloff cone increase
Rendering page of the Preferences dialog). in size as you increase the size of the hotspot
cone.
To override the separation of the hotspot and
• Drag up to narrow (decrease) the hotspot
falloff parameters and cause the parameters to
angle and illuminate less of the scene.
affect each other, hold down the SHIFT key.
• Hold down CTRL as you drag to lock the
For more information on the hotspot and falloff initial angle separation of the hotspot and
parameters, see Spotlight Parameters (page 2–969) falloff cones.
and Directional Parameters (page 2–978).
Note: If the light is a photometric light (page 2–941)
with spotlight distribution, this button controls the
light’s beam angle. At the beam angle, the light’s
intensity has fallen to 50 per cent (rather than 100
per cent at the hotspot angle for a standard light).
Roll Light 475
Roll Light Light Falloff

Activate a light viewport. > Viewport navigation controls Activate a Light viewport. > Viewport navigation controls
> Roll Light > Light Falloff
Roll Light rotates the light about its own line of Light Falloff adjusts the angle of a light’s falloff
sight (the light’s local Z axis). (page 3–686). This button replaces the Zoom
Region button when a light viewport is active.
Although Roll does change the light view, it affects
the light object only if the light casts a rectangular
beam or is a projector (page 3–718).
The light has a narrow hotspot but a wide falloff area.
Rolling a light
Drag the mouse horizontally to roll a target light

or rotate a free light about its local Z axis.
This button replaces the Zoom Extents button
when a light viewport is active.
Procedure
To roll a light:
Making the falloff even wider illuminates a larger area.

2. Click Roll Light.
Click Light Falloff, then move the mouse in the
light viewport to make the falloff narrower or
3. Drag horizontally to roll the view. wider (the falloff extents are shown in gray, the
4. Press ESC or right-click to turn off the button. hotspot (page 3–686) is in blue).
Hold down the CTRL key while moving the mouse
to lock the initial angle separation of the hotspot
and falloff cones.
You can’t adjust the hotspot larger than the falloff, decrease in size as you decrease the size of
because that would change the falloff value. the falloff cone.
Likewise, when you reduce the falloff, it stops at • Hold down CTRL as you drag to lock the
the hotspot size (in both cases, separated by the initial angle separation of the hotspot and
angle separation (page 3–540), specified on the falloff cones.
Rendering page of the Preferences dialog).
To override the separation of the hotspot and
falloff parameters and cause the parameters to
affect each other, hold down the SHIFT key.
Truck Light
For more information on the hotspot and falloff
Activate a light viewport. > Viewport navigation controls
parameters, see Spotlight Parameters (page 2–969) > Truck Light
and Directional Parameters (page 2–978).
Truck Light moves a target light and its target
Procedure parallel to the light view, and moves a free light
To change a light’s falloff: along its XY axis.
1. Set up a Perspective viewport so you can see
the light in 3D space.
3. Press H to display the Select Object dialog.
Select the light.
The light and its cones should be visible in the
Perspective viewport.
4. Click Light Falloff.

5. Drag in the Light viewport to change the falloff
Trucking a light
angle.
The gray falloff cone expands and contracts as To constrain trucking of any viewport to a single
you drag. axis, hold down the SHIFT key. The truck is
constrained to the first axis you move while the
• Drag down to widen (increase) the falloff
SHIFT key is down.
angle and illuminate more of the scene.
To accelerate trucking, hold down the CTRL key.
• Drag up to narrow (decrease) the falloff
angle and illuminate less of the scene. As its Note: This button replaces the Pan button when a
angle decreases, the falloff shrinks around light viewport is active.
the hotspot. By default, the falloff cone can
be no smaller than the hotspot cone. Procedures
• Hold down SHIFT as you drag to override To truck a light:
the default. This lets the hotspot cone 1. Activate a Light viewport.
Orbit/Pan Light 477
2. Click Truck Light.

3. Drag to move the light and its target.
The camera and its target move parallel to
the view plane, which is perpendicular to the
camera’s line of sight.
To constrain trucking to a single axis:

• Hold down the SHIFT key.
Panning a light
The truck is constrained to the first axis you
use. To constrain panning or orbiting to a single axis,
hold down the SHIFT key. The pan or orbit is
constrained to the axis you first move while the
SHIFT key is down.
Orbit/Pan Light To accelerate panning or orbiting, hold down the

CTRL key before you pan or orbit.
Activate a light viewport. > Viewport navigation controls
> Orbit/Pan Light flyout Note: This button replaces the Arc Rotate button
when a light viewport is active.
Orbit rotates a light about the target. Pan rotates
the target about the light. Procedures
To orbit a light:
2. Click Orbit Light.

3. Drag to rotate the view around the target.
world X and Y axes.
• Press SHIFT and drag horizontally to lock
view rotation about the world Y axis. This
produces a horizontal orbit.
Orbiting a light
• Press SHIFT and drag vertically to lock
produces a vertical orbit.
To pan a light:
1. Activate a Camera or Light viewport. Command Panels
2. Click Pan Light.
The button highlights when it is on. Command Panel
3. Drag to rotate the view about the camera or The command panel comprises six user-interface
light. panels that give you access to most of the
modeling features of Autodesk VIZ, as well as
some animation features, display choices, and
world X and Y axes.
miscellaneous utilities. Only one panel is visible at
• Press SHIFT and drag horizontally to lock a time. To display a different panel, you click its
view rotation about the world Y axis. This tab at the top of the command panel.
produces a horizontal pan.
These are the six panels:
• Press SHIFT and drag vertically to lock
produces a vertical pan. • Create panel (page 3–479)
4. Press ESC or right-click to turn off the button. Contains controls for creating objects:
geometry, cameras, lights, and so on.
To pan with the middle mouse button:
• Hold down the middle mouse button and drag. • Modify panel (page 3–480)
Pan mode is automatically switched on. Contains controls for applying modifiers (page
3–701) to objects and editing editable objects
Interface such as meshes and patches.
Orbit Light—Rotates the light about its target. • Hierarchy panel (page 3–494)
Free lights use the invisible target, set to the target
Contains controls for managing links in a
distance specified in the Modify panel > Spotlight
hierarchy, joints, and inverse kinematics.
Parameters or Directional Parameters rollout.
Pan Light—For a target light, rotates the target • Motion panel (page 3–495)
about the light. For a free light, rotates the light Contains controls for animation controllers
about its local axes. and trajectories.
• Display panel (page 3–496)

Contains controls that let you hide and unhide
objects, along with other display options
• Utilities panel (page 3–499)

Contains miscellaneous utility programs.
Object Name and Wireframe Color 479
By default, the command panel appears at the

right of the Autodesk VIZ window. You can "dock" Create Panel
it along other edges of the program window, or
make it a floating panel. See Customizing the User Command panels > Create panel
Interface (page 3–505).
The Create panel provides the controls for creating
objects. This is the first step in building a new
Object Name and Wireframe Color scene in Autodesk VIZ. Most likely, you will
continue to add objects throughout an entire
Create panel > Any object category > Name And Color project. For example, when it is time to render a
rollout
scene you might need to add more lights.
Modify, Hierarchy, Motion, Display, or Utilities panel >
Name field and color swatch The Create panel groups the kinds of objects
you create into six categories. Each category has
The name and color fields appear at the top of its own button. Within each category there can
all command panels other than the Create panel. be several different subcategories of objects. A
On the Create panel, the fields are contained in a drop-down list lets you choose among object
rollout. You can change an object’s name or color subcategories, and each kind of object has its own
from any of these locations. button, which you click to begin creation.
Interface These are the categories of objects that the Create

panel provides:
• Geometry (page 1–125)

Name (text field)—Displays the name of the
Geometry is the renderable geometry of the
selected object and lets you enter a new name from
scene. There are geometry primitives such
the keyboard. Available only when a single object
as Box, Sphere, Pyramid, and more advanced
is selected.
geometry such as Doors and Stairs, AEC
Color (swatch)—Displays the selected object’s Extended objects such as Terrain and Railing.
wireframe color and lets you select a new one.
The wireframe color is the one used to display • Shapes (page 1–234)
the object in viewports. Click the color swatch to
Shapes are splines or NURBS curves. They have
display the Object Color dialog (page 1–130).
only one local dimension, although they can
By default, the color swatch is black-and-white, exist in 2D space, such as a Rectangle shape, or
which means that the object derives its wireframe 3D space, such as a Helix.
color from its layer’s properties (page 3–364). If You can give shapes a thickness so they
you change the wireframe color, the new color will render, but primarily you use them for
overrides the layer color and appears in the color constructing other objects such as Lofts, or for
swatch. motion trajectories.
• Lights (page 2–911)

Lights illuminate the scene and improve its
realism. There are several kinds of lights, each
of which models different types of lighting in the object, modifiers do not change its underlying
the real world. creation parameters. See the list of available
modifiers (page 2–27).
• Cameras (page 2–995)
You use the Modify panel to:
Camera objects provide a view of the scene.
The advantages of cameras over the views in • Change the creation parameters for existing
the standard viewports are that cameras have objects.
controls similar to real-world cameras, and that • Apply modifiers to adjust the geometry of an
you can animate a camera’s position. object or a set of objects.
• Change the parameters of modifiers and select
• Helpers (page 2–618) their components.
Helper objects are aids to constructing a scene. • Delete modifiers.
They help you position, measure, and animate
• Convert a parametric object to an editable
the scene’s renderable geometry.
object; see Modifier Stack Controls (page
3–481).
• Systems (page 1–334)
Contains the Sunlight and Daylight systems The Modify panel stays in view until you dismiss
(page 1–335), which simulate sunlight in your it by clicking the tab of another command panel.
scenes. Might also contain third-party plug-in The contents of the panel with its options and
systems that combine objects, controllers, and controls update when you select an object, giving
hierarchies to provide geometry associated you access only to what you can modify about that
with some kind of behavior. object.
What you can modify depends on whether an
object is classed as a geometric primitive like a
sphere, or as another kind of object, such as a light.
Each category has its own range of possibilities.
Modify Panel The contents of the Modify panel are always
specific to the category as well as to the selected
Command panels > Modify panel
object. When you make a change from the Modify
panel, you immediately see the results transferred
From the Create panel of Autodesk VIZ, you
to the object.
place basic objects in your scene, including 3D
geometry, 2D shapes, lights and cameras, and You can change or delete modifiers by using the
helpers. As you do this, you give each object its Modifier Stack Controls (page 3–481).
own set of creation parameters, which define its
geometry and other characteristics depending on See also
the type of object. Once placed in a scene, objects List of Available Modifiers (page 2–27)
carry their creation parameters with them. You
can change these parameters on the Modify panel. Procedure
You also use the Modify panel to assign modifiers To use the Modify panel:
(page 3–701). Modifiers are tools for reshaping an 1. Select an object.
object. While they mold the final appearance of
Modifier Stack Controls 481
To cycle through all modifiers starting with

2. On the Command panel, click the that letter, press the key repeatedly.
Modify tab to display the Modify panel. • With the mouse, slide the scroll bar on the
The name of the object appears at the top of the right side of the list, or turn the mouse wheel.
Modify panel, and the remainder of the panel 4. Apply the modifier. If using the keyboard, press
displays settings for the object or the modifier ENTER to apply the highlighted modifier. If
at the top of its stack. using the mouse, simply click the modifier
3. You can now do any of the following: name to apply it.
• Change the parameters for the object. As
you change these parameters, the object
updates in the viewports. Modifier Stack Controls
• Apply a modifier to the object. Make selection. > Modify panel
• Change the parameters for a modifier. As

you change these parameters, the object The modifier stack controls appear near the
updates into the viewports. top of the Modify panel, just below the name
and color fields. The modifier stack ("stack" for
• Collapse the stack to create an editable short) contains the accumulated history of an
surface such as an editable mesh (page object, including its creation parameters and the
2–350). modifiers applied to it. At the bottom of the stack
is the original object. Above the object are the
To apply a modifier from the Modify panel:
modifiers, in order from bottom to top. This is the
1. Select an object. order in which modifiers are applied to the object’s
geometry.
2. On the Command panel, click the
Modify tab to display the Modify panel. On the
Modify panel, click the Modifier List items to
open the drop-down list of modifiers.
3. Scroll the list to find the modifier you want. You
can use any standard method to scroll the list:
• From the keyboard, press the up or down
arrow key to scroll one item at a time, or
press the Page Up or Page Down to scroll
in screen-height increments, or use Home
Object with two modifiers applied to it in the stack
or End to jump to the top or bottom of the
list. The name of the chosen modifier is
See also
highlighted, and the name appears at the top
of the list. Applying Modifiers (page 2–29)
Tip: If you know the modifier name, you can Using the Modify Panel (page 2–28)
jump to its section by pressing the keyboard
Using the Modifier Stack (page 2–30)
key corresponding to first letter of the name.
List of Available Modifiers (page 2–27)
World-Space Modifiers (WSMs) (page 2–41)

Object-Space Modifiers (page 2–51)
Instances and References in the Modifier

Stack Display
In the modifier stack display, objects and Top: Instanced modifier displayed in italic (modifier applied
modifiers appear in normal type unless they are an to two objects)
instance or a reference. Here is how instances and Bottom: Instanced modifier in an instanced pipeline
displayed in italic and boldface
references appear in the stack display:
• The name of an instanced object appears in • A referenced object appears with a dark bar
boldface. above it. Modifiers below the bar are part of the
• The name of a modifier appears in boldface if it current pipeline. Modifiers above the bar are
is part of an instanced pipeline. unique to the reference object.
Note: You can also create instances of a
reference. In this case, the modifier above the
reference bar apply to the reference and to its
instances.
Top: Plain object displayed in plain text
• A modifier above the reference object bar
Bottom: Object instance displayed in boldface
can itself be an instance and appear in other
pipelines, in which case its name would be italic
(either plain or boldface).
Top: Pipeline displayed in plain text

Bottom: Pipeline instance displayed in boldface
• If a modifier is applied to two or more pipelines, Top: Object reference shows a bar in the pipe
it is called an instanced modifier. Its name Bottom: Modifier applied to reference is not bold, as it is
appears in italic. unique to this reference
• If a modifier is instanced and part of an

instanced pipeline, its name appears in boldface The Make Unique button (page 3–491)
and italic. makes a pipeline or a modifier instance unique.
When you highlight the base object and then click
Make Unique, the whole pipeline becomes unique.
When you highlight a bold modifier and then
click Make Unique, this also makes the pipeline
unique. If the modifier is an instanced modifier
that belongs to an instanced pipeline (it appears in
boldface and italic), clicking Make Unique makes
the modifier unique but not the entire pipeline • Choose the name of the modifier from the
(the modifier’s name is no longer italic, but it is drop-down modifier list.
still bold). • Drag the name of the modifier from the
stack display or the drop-down modifier list
See also to the object in a viewport. SHIFT+drag
How Instanced Modifiers Work (page 2–39) from the stack display moves the modifier,
removing it from the original object and
Transforms, Modifiers, and Object Data Flow
applying it to the new one. CTRL+drag
(page 2–24)
from the stack display copies the modifier,
creating an instanced modifier applied to
Most-Recently-Used Modifiers
both the original object and the new one.
Autodesk VIZ caches the results of evaluating • If the modifier buttons are visible and the
most-recently-used modifiers. This means that in modifier you want is one of them, click the
general, you can see results more quickly as you button.
move among modifiers on the stack.
• Choose the modifier from the Modifiers
To conserve memory use, the list of menu.
most-recently-used modifiers has a fixed
length. Once the list is full, adding a new modifier To remove a modifier:
removes the oldest modifier in the list. By default, 1. Choose the modifier by clicking its name in
the list length is 1. You can increase it by adding an the stack.
MRUModSize entry to the [Performance] section
of the 3dsviz.ini file. For example: The modifier’s name is highlighted, and its
control rollouts appear below the modifier
MRUModSize=10 stack.
A good rule of thumb for this value is 10, but 2. Do one of the following:
results will vary depending on how much main
memory your system has. • Click Remove Modifier From The
Stack. This button is one of the tools beneath
Procedures the display of the modifier stack.
To adjust an object’s creation parameters: • Right-click the modifier’s name in the stack,
1. Choose the object by clicking its name in the and choose Delete.
stack.
To turn the effect of a modifier off, do one of the
Primitive objects have a Parameters rollout. following:
Other kinds of objects (such as meshes or
NURBS) have a variety of rollouts. • Click to turn off the light-bulb icon to the
left of the modifier’s name in the stack.
2. Use the controls in the rollouts to adjust the
object. When you apply a modifier, the light-bulb icon
is on by default.
To apply a modifier to an object: • Right-click the modifier in the stack display,
1. Select the object. and choose Off.
To turn the effect of a modifier back on, do one of To turn the modified object into an editable mesh,
the following: do one of the following:
• Click to turn on the dark light-bulb icon to • Right-click the modifier stack, and choose
the left of the modifier’s name in the stack. Collapse All.
• Right-click the modifier in the stack display, A warning dialog is displayed that reminds you
and choose On. that the collapse operation cannot be undone,
and gives you the option of performing a hold
To change the size of the modifier stack display: (page 1–91) before creating the mesh.
1. Move the cursor over the shaded bar below the
tool buttons beneath the stack list.
The cursor changes to an up-and-down resize
arrow (as it does on the borders of a resizable
window).
2. Drag the bar up or down to change the size of
the stack display in the Modify panel.
• Right-click the object in a viewport, and choose
To change a modifier’s position in the stack: Convert To > Convert to Editable Mesh in the
1. Right-click the modifier’s name in the stack, quad menu.
and choose Cut. Tip: You can also turn a modified object into an
2. Right-click the name of the modifier you want editable patch or editable polygon surface. Use
the modifier to appear after (that is, above), the quad menu to do this.
and choose Paste.
To adjust a modifier’s component such as its gizmo
You can also drag-and-drop the modifier to a or center point:
different location in the stack.
1. Click the plus-sign icon to display the
Note: The original object is always at the bottom modifier’s hierarchy.
of the stack, and world-space modifiers are
2. Choose the component you want to adjust,
always at the top.
such as the Gizmo.
To use the modifier buttons: The component highlights to show it is active.
3. Adjust the component.
• Click Configure Modifier Sets, and choose
Show Buttons. For example, you might use transforms to move
This menu item is a toggle. It is either on or off. a gizmo or a center point.
When you turn on Show Buttons, the current 4. When done, you can click the minus-sign
button set appears between the drop-down icon to hide the hierarchy display. The modifier
modifier list and the stack display. itself is highlighted again.
See Configure Modifier Sets Dialog (page Tip: You can also right-click the stack and use
3–493) for more information. Show All Subtrees to view the entire hierarchy,
and Hide All Subtrees to view only objects and
modifiers.
To go to a sub-object level for complex objects: Modifier List

1. Click the plus-sign icon to display the
object’s hierarchy.
2. Choose the sub-object level you want to adjust. The modifier list is a drop-down list that lets you
The sub-object level highlights to show it is choose a modifier to add to the stack. When you
active. choose an object-space modifier (page 2–51) from
this list, it appears above the object, or above the
Keyboard shortcut: INS cycles through the modifier that was currently selected in the stack.
different sub-object levels. When you choose a world-space modifier (page
3. Adjust sub-objects. 2–41) from this list, it appears at the top of the
When you add a new sub-object type, the stack.
modifier stack updates to show the new Use Pivot Points—The first item in the modifier
sub-object levels. For example, when you add list is the Use Pivot Points toggle. It is unavailable
a point curve sub-object to a NURBS surface, unless multiple objects are selected.
the Point and Curve sub-object levels appear
in the stack. When Use Pivot Points is turned on, Autodesk VIZ
uses the pivot point of each object as the center of
4. To leave the sub-object level, click to select
a modifier’s operation. For example, if you bend a
the name of the top-level object or a different line of trees around the Z axis, they all bend along
top-level object. their trunks.
Tip: You can also right-click the stack and use
When Use Pivot Points is turned off, Autodesk VIZ
Show All Subtrees to view the entire hierarchy,
calculates a central pivot point for the entire
and Hide All Subtrees to view only objects and
selection set and modifies the selection as a whole.
modifiers.
For example, if you bend a line of trees around the
Z axis, trees at the end of the line deform more
Interface
than those at the center where the pivot is located.
Note: You must turn on Use Pivot Points before
you apply the modifier to multiple objects. You
can’t change the setting afterward, although you
can delete the modifier and start over without
deselecting the selection set.
Modifier Buttons
Between the modifier list and the stack display,
you can display up to 32 buttons. The buttons are
a shortcut way to add modifiers to the stack.
The Modifier Stack

• Above the object itself are entries for object

modifiers. Click a modifier entry to display the
modifier’s parameters so you can adjust them.
This section lets you go back to any modifier
you’ve applied and rework its effect on the
object. You can also delete the modifier from
the stack, canceling its effect.
Reminder:Autodesk VIZ applies transforms
after it applies object modifiers but before it
applies world-space modifiers.
• The top of the stack shows which world-space
modifiers the object uses.
To the left of each modifier in the stack is a

light-bulb icon. When the bulb appears white, the
To display the modifier buttons, click
modifier is applied to the stack below it. When the
Configure Modifier Sets (below the stack display)
bulb appears gray, the modifier is turned off. Click
and choose Show Buttons.
to toggle the on/off state of the modifier.
To customize the button set, click Configure Note: You can also turn off the effect of modifiers
Modifier Sets (below the stack display) and choose in viewports but not in renderings, or vice versa.
Configure Modifier Sets (page 3–493). The light-bulb icon changes to show these states as
well. See Modifier Stack Right-Click Menu (page
When a modifier’s button is visible, clicking the
3–487).
button adds the modifier to the stack. Object
modifiers are applied immediately above the If the modifier has sub-controls such as
currently selected object or modifier. World space a center or a gizmo, the stack also shows a small
modifiers are applied at the top of the stack. plus/minus icon. Click this icon to open or close
the hierarchy.
Stack Display
The modifier stack is organized as follows:
• At the bottom of the stack, the first entry always
lists the object type. Click this entry to display
the object’s creation parameters so you can
adjust them.
When you click to choose an entry in the
modifier stack, its background highlights to
Opening a modifier’s hierarchy to access sub-controls
show that the entry is current, and that the
object’s or modifier’s parameters are available When the hierarchy is open, you can select a
for adjusting, in rollouts that appear beneath sub-control, such as a gizmo, and then adjust it.
the stack display. The available sub-controls vary from modifier to
modifier.
Modifier Stack Right-Click Menu 487
Objects that have a sub-object hierarchy, such as Tool Buttons

editable meshes (page 2–350) and NURBS (page Below the stack display is a row of buttons for
2–443), also show a collapsible hierarchy in the managing the stack.
modifier stack.
To work at a sub-object level, click to open the Pin Stack—Locks the stack to the currently
hierarchy, then click to select the sub-object selected object so it remains with that object
level. Controls for that particular level or type regardless of subsequent changes in selection. The
of sub-object appear in rollouts below the stack entire Modify panel is locked to the current object
display. as well.
(Certain types of sub-objects display an icon at the Pin Stack is useful for transforming another object
right of the stack, to help you see which sub-object while keeping your place in the modified object’s
type you are adjusting.) stack.
Show End Result—Shows the selected object

as it will appear after all modifications in the
stack have taken place, regardless of your current
position in the stack. When this toggle is turned
off, the object appears as modified up to the
current modifier in the stack.
Make Unique—Converts an instanced

modifier to a copy that’s unique to the current
object. See Make Unique (page 3–491).
Remove Modifier—Deletes the current

modifier.
Configure Modifier Sets—Click to display the

pop-up Modifier Sets menu (page 3–492).
Modifier Stack Right-Click Menu

Modify panel > Modifier stack display > Right-click a
modifier or object.
Some commands for managing modifiers are

available by right-clicking the modifier stack
display. Some options are unavailable if they don’t
Opening an object’s hierarchy to access sub-object levels apply to the current modifier. For example, Make
Unique is available only if you select an instanced
modifier.
The main uses of the right-click menu for the Procedures

modifier stack are: To move one or more modifiers:
• Renaming modifiers 1. Select one or more modifiers in the modifier
• Rearranging modifiers with the cut, copy, and stack display.
paste functions To select multiple modifiers, click to select one
You can cut, copy, and paste multiple modifiers at modifier, then hold down CTRL and click to
one time. You can also cut and copy discontiguous select the others. Holding down SHIFT selects
selections of modifiers. the two modifiers you click and all modifiers
in between them.
• Creating instances of modifiers
2. Right-click and choose Cut.
• Collapsing the stack into a surface object such
as an editable mesh 3. Select a modifier above which to paste the cut
modifiers. (This can also be the object at the
• Controlling whether modifiers are on or off, off
bottom of the stack.)
in viewports, or off in renderings
4. Right-click and choose Paste. The modifiers
Collapsing the Stack are pasted above the current selection.
Collapsing the stack removes modifiers from To copy one or more modifiers:
the object. Collapsing a stack typically converts
1. Select one or more modifiers in the modifier
an object into an editable version of the original
stack display.
object (unless the object was editable to begin
with). Collapse To is unavailable unless you select To select multiple modifiers, click to select one
one or more modifiers in the stack. Using Collapse modifier, then hold down CTRL and click to
To removes all stack items from the creation select the others. Holding down SHIFT selects
parameters to and including the uppermost the two modifiers you click and all modifiers
selected stack item. in between them.
Following are suitable reasons to collapse a stack: 2. Right-click and choose Copy.
• To simplify the scene geometry. 3. Select an item above which to paste the cut
modifiers.
• To discard applied modifiers, and convert the
object to an editable object while retaining the 4. Right-click and choose Paste. The copied
results of any applied modifiers. modifiers are pasted above the current
selection. Choose Paste Instanced to make the
• To conserve memory.
pasted modifiers instances of those you copied.
After you collapse an object’s stack, you can no
longer parametrically adjust either its creation To copy modifiers from one object to another:
parameters or its individual modifiers. Animation 1. Select one or more modifiers in the modifier
tracks that were assigned to such parameters also stack display of the first object.
disappear.
To select multiple modifiers, click to select one
modifier, then hold down CTRL and click to
select the others. Holding down SHIFT selects
Modifier Stack Right-Click Menu 489
the two modifiers you click and all modifiers Delete—Deletes the modifier from the stack. The
in between them. modifier is not available for pasting.
2. Right-click and choose Copy. Cut—Cuts the modifier from the stack. The
3. Select the second object. modifier is removed, but is available for pasting.
4. In the second object’s modifier stack display, Copy—Makes a copy of the modifier that is
select an item above which to paste the copied available for pasting.
modifiers.
Paste—Pastes the modifier into the stack. The
5. Right-click and choose Paste. modifier appears above the currently selected
The modifiers from the first object are pasted object or modifier, unless it is a world space
above the current selection in the second modifier, in which case it is pasted at the top of the
object. Choose Paste Instanced to make the stack.
pasted modifiers instances of those you copied. You can paste a modifier from one object into the
stack of a different object.
Interface
Paste is unavailable when more than one modifier
is selected in the stack.
Paste Instanced—Pastes an instance of the modifier
into the stack. The modifier instance appears
above the currently selected object or modifier,
unless it is a world space modifier, in which case it
is pasted at the top of the stack.
You can paste a modifier instance from one object
into the stack of a different object.
Paste Instanced is unavailable when more than one
modifier is selected in the stack.
Make Unique—Converts an instanced modifier to
a copy that’s unique to the current object. This
button is unavailable unless the modifier you
right-clicked is instanced. See Make Unique (page
3–491).
Collapse To—Collapses a portion of the stack.
Collapse To is unavailable unless you select one
Rename—Lets you change the name of the or more modifiers in the stack. Using Collapse
modifier. For example, you might change the To collapses all stack items from the object itself,
name Bend to the more specific "First 45-degree up to and including the uppermost selected stack
bend." After choosing Rename, enter the new item. If there are modifiers above the uppermost
name in the stack display, and then press ENTER. selection, they are not changed.
Pressing ESC cancels the name change. The resultant object type depends on the
uppermost modifier that outputs a specific
geometry type, if any. If the stack contains no Off in Renderer—Turns off the currently selected
such modifier, the result is an editable mesh modifiers in renderings only. The effect of
(page 2–350). If the collapsed portion of the the modifiers is visible in viewports but not in
stack contains a modifier that outputs a specific renderings.
geometry type, and no other such modifier is
The light-bulb icon to the left of the modifier
above it, the result is that type of object. For
name shows "off in Renderer."
example, if the topmost such collapsed modifier is
Edit Poly, the resultant object is Editable Poly. Off—Turns off the currently selected modifiers
without deleting them. This can help you see the
Collapse All—Collapses the entire stack.
object without the effect of its modifiers.
The resulting stack list shows a single entry:
Editable Mesh, unless any modifiers on the stack The light-bulb icon to the left of the modifier
output a different type of geometry. For example, name shows "off."
if the topmost such modifier is Edit Poly, the Make Reference—If the object is an instance,
resultant object is Editable Poly. converts it to a reference. This option is available
Note: World-space modifiers (page 2–41) don’t only when the base object is selected, and only
collapse along with the rest of the stack. when the base object is a reference.
Convert To—This menu item appears if no When you make an instanced object into a
modifiers are applied to the object. Choose one of reference, a heavy, "derived object" bar appears at
the Convert To options: the top of the stack. You can select this bar and
• Editable Mesh apply modifiers above it. Modifiers applied above
the bar affect the reference object only, and not its
• Editable Spline parent object.
• Editable Patch
• Editable Poly
• NURBS
Note: Depending on the object type, not all
Convert To options might be available.
Gray bar denotes a reference object at the base of the stack
On—Turns on the effect of modifiers in both
viewports and the renderer. Show All Subtrees—Expands the display of every
hierarchical item in the stack display, so that all
The light-bulb icon to the left of the modifier items in the stack are visible, including sub-objects.
name shows "on."
Hide All Subtrees—Hides the subtree of every
Off in Viewport—Turns off the currently selected hierarchical item in the stack display, so that only
modifiers in viewports only. Allows you to work in objects and modifiers are visible.
the viewport without the effects of the modifiers.
You see the effects when you render.
The light-bulb icon to the left of the modifier

name shows "off in viewports."
Make Unique 491
4. Select two of the cylinders and click Make

Make Unique Unique.
Modify panel > Tool buttons > Make Unique 5. Choose Yes in the resulting dialog.
Modify panel > Right-click an instanced modifier in the At this point, the two selected cylinders
stack display. > Make Unique
each have unique Bend modifiers, while the
Right–click an instanced object. > Make Unique remaining two cylinders share the original
Bend. You can see this by selecting each
Make Unique lets you convert an instanced object cylinder and changing the Bend Angle setting.
to a copy that’s unique. A object is instanced when 6. Choose Edit menu > Fetch, and answer Yes.
it is cloned (SHIFT+Move or SHIFT+Rotate).
7. Select two cylinders again, and click Make
If you make changes to an instanced object the
changes are also reflected in the other instances in Unique.
your scene. Making objects unique lets you adjust 8. Choose No in the resulting dialog.
or change those objects independently without The two selected cylinders now share an
affecting any other objects in the scene. instance of a Bend modifier, but it’s a different
Tip: If you drag a material to a unique object and instance than that shared by the other two
see the other instanced object updating as well, cylinders. Again, you can see this by selecting
turn off Automatic Material Propagation. Go to each of the cylinders and changing the Bend
Customize menu > Customize UI and choose Angle spinner. You can also turn on Show
Category: Instance Manager, then drag Automatic Dependencies (page 1–45) in the Views
Material Propagation to a toolbar or assign a menu to see the relationship between the four
keyboard shortcut to it. Using this tool will allow cylinders and the Bend modifier.
the unique object to act uniquely.
Example: To use Make Unique with an instanced
object/modifier combination:
Procedures
Example: To use the Make Unique options with an 1. Create a cylinder with some height segments.
instanced modifier: 2. Apply a Bend modifier and adjust the Angle
1. Create a cylinder with some height segments, just enough to see the results of the bend.
and then use SHIFT+Move to create three 3. Use SHIFT+Move with the Instance option
copies, resulting in four identical cylinders. to create an instanced object/modifier
2. Select all four cylinders, apply the Bend combination.
modifier, and adjust the Angle setting just 4. Change the Bend Angle setting on one of the
enough to see the results of the bend. instances to demonstrate that the cylinders and
You now have four cylinders with a single modifiers are truly instanced.
instance of a Bend modifier applied to them. Both cylinders bend.
3. Choose Edit menu > Hold. 5. Select one of the instances, and then, in the
This lets you return to the current state of the modifier stack choose either the Bend modifier
scene at any time without using Undo. or the cylinder itself.
6. Click Make Unique.

When you change the Bend Angle setting or the selected objects, but become unique from
cylinder base parameters for one of the objects, other objects not in the selection.
the other doesn’t change.
Note: When you instance an object/modifier
combination, all duplicates are instances of Modifier Sets Menu
a single master node containing the original
Modify panel > Configure Modifier Sets button
object and modifier. In such cases, you cannot
selectively make the object or its modifier
unique. Clicking Make Unique for one or the The button sets menu gives you options for
other, makes both unique. managing and customizing shortcut buttons for
applying modifiers.
Interface
Procedures
Make Unique—Detaches objects and To display the current button set on the Modify
modifiers (and combinations) logically from panel:
the master node of which they’re instances or
references. • Click Configure Modifier Sets, and then
choose Show Buttons to turn on this item.
Go to the object or modifier level in the stack for
an instanced or referenced object or modifier This item is a toggle. Choosing Show Buttons
(respectively), and click Make Unique. a second time turns off the button display, and
so on.
For instanced object/modifier combinations, in
the modifier stack, choose either the modifier or To configure a new modifier set:
the object itself.
• Click Configure Modifier Sets, and then
Make Unique is unavailable when a selected object
choose Configure Modifier Sets (page 3–493).
is not an instance or reference, when it doesn’t
contain an instanced modifier, or when all objects To change from one button set to another:
in the selection don’t have an instanced modifier
in common. • Click Configure Modifier Sets, and then choose
the modifier set name from the lower part of
Making New Instances the menu.
When you click Make Unique for a selection of two

or more objects, a dialog appears that asks: Do
you want to make the selected items unique with
respect to each other? This gives you a choice of
how you want to make the objects unique.
• Yes—Makes the instanced modifiers assigned
to the objects in the selection unique for each
object in the selection.
• No—All instanced modifiers assigned to the
objects in the selection remain instanced across
Configure Modifier Sets Dialog 493
Interface
Configure Modifier Sets Dialog
Modify panel > Configure Modifier Sets button >
Configure Modifier Sets
This dialog lets you create custom modifier and

button sets for the Modify panel.
Procedures
To choose a modifier and button set to edit:
• Choose a button set from the Sets drop-down
list.
To create a new modifier and button set:

1. Create a custom button set in the Modifiers
group box. You use these controls:
• Use Total Buttons to change the number of
buttons.
Configure Modifier Sets—Displays the Configure
• Drag a modifier from the Modifiers list to
Modifier Sets dialog (page 3–493) to let you create
a button.
a new, customized button set.
• Highlight a button, and then double-click
Show Buttons—When on, buttons for the current
a modifier in the Modifiers list. (When
modifier set are displayed between the modifier
you assign a button by double-clicking, the
list and the stack display. Default=off.
highlight moves to the next button in the
Show All Sets in List—When on, the Modifier List Modifiers group.)
is organized by sets. When off, the Modifier List 2. Enter the new set’s name in the Sets edit field.
is organized simply into World-Space Modifiers
3. Click Save.
and Object-Space Modifiers, and is otherwise
alphabetical except that the current set appears at 4. Click OK to leave the Configure Modifier Sets
the top of the list. Default=off. dialog.
Saved button sets—The bottom part of the Button To customize the current modifier and button set:
Sets menu lists the names of saved button sets.
1. Use Total Buttons to choose the number of
Choose one of these sets to make it the current
buttons in the set.
button set. The current set is displayed as buttons
when Show Buttons is on. The Modifier List 2. Assign buttons by dragging the names of
drop-down is organized by sets when Show All modifiers in the dialog’s Modifiers list to
Sets In List is on. buttons in the Modifiers group box.
3. Click OK.
Autodesk VIZ updates the Modifiers list. You
can customize the set without saving it, but if
you save a new set under a new name, you can Modifiers group
use it later.
Previews how the button set will appear on the
Modify panel. Because the box shows only 16
Interface buttons at a time, a scroll bar on the right lets you
see any remaining buttons.
To change a button, drag the name of a modifier
from the Modifiers list to a button in this group
box, or click the button (its border highlights) and
then double-click the modifier name.
Hierarchy Panel
Command panels > Hierarchy panel
The Hierarchy panel provides access to tools to

adjust the hierarchical linkage between objects.
Modifiers—Lists all modifiers currently available.
By linking one object to another, you create
It’s organized into these categories: VIZ
a parent-child relationship. Transformations
STANDARD, VIZ SURFACE, SURFACE
applied to the parent are also transmitted to the
TOOLS, VIZ EDIT, RADIOSITY, LIGHT,
child. By linking more objects to both parent and
VIZ ADDITIONAL, SPLINE EDITS and
child objects you can create complex hierarchies.
WORLD-SPACE MODIFIERS. To add a modifier
to the current button set, drag the modifier’s name
from this list onto a button in the Modifiers group
box.
Sets—This edit field and drop-down list lets you
choose the modifier set to edit. To create a new
button set, enter the name in the edit field, and
then click Save.
Save—Saves the current button set.
Delete—Deletes the current button set.
Important: You can’t undo deleting a button set.

Gyroscope assembled as a hierarchy.
Total Buttons—Sets the number of buttons in the The parent is the outer ring with handle.
button set. A button set can have up to 32 buttons. The flywheel is the lowest child.
Common uses of linking are:

• Creating complex motions.
Motion Panel 495
• Simulating jointed structures. can be changed, the trajectories will reflect all the
• Providing the basis for inverse kinematics. adjustments you make. You can also convert to
and from splines and collapse transforms using
The Hierarchy panel is divided into three areas: trajectories.
Pivot (page 2–805)
Interface
IK (page 2–808)
Parameters
Link Info (page 2–816)
Provides an alternative to Track View (page
Note: For important background information on 2–818) for adjusting transform controllers and key
hierarchies and kinematics, see Animating with information.
Forward Kinematics (page 2–772) and Inverse
Kinematics (IK) (page 2–781). Assign Controller Rollout (page 3–495)
PRS Parameters Rollout (page 2–694)
Key Info (Basic) Rollout/Dialog (page 2–694)
Key Info (Advanced) Rollout/Dialog (page 2–696)
Motion Panel
Trajectories
Select an object. > Command panels > Motion panel
Provides tools for working with objects’
The Motion panel provides tools to adjust the trajectories.
motion of the selected object. Key timing and Trajectories (page 2–691)
easing in and out of a key are parameters that
you can adjust with tools on the Motion panel,
for example. The Motion panel also provides an Assign Controller Rollout
alternative to Track View for assigning animation
controllers. Select an object. > Motion panel > Parameters > Assign
Controller rollout
Additional rollouts display in the Motion panel if
an assigned animation controller has parameters. The Assign Controller rollout assigns and appends
If a Path constraint is assigned to the position different transform controllers to individual
track of an object, then a Path Parameters rollout objects. You can also assign controllers in Track
is added to the Motion panel. A Link constraint View.
displays a Link Parameters rollout, a Position XYZ Animation controllers (page 2–697) are plug-ins
controller displays a Position XYZ Parameters that handle all of the animation tasks in
rollout, and so on. Autodesk VIZ. For a complete list of available
Animation controllers, see Assign Controller
Trajectories (Track View) (page 2–857).
Click Trajectories to chart a path that an object will
travel along in the viewports. Yellow dots along Procedure
the path represent frames, giving you an idea of To assign a TCB Rotation controller:
velocity and easing. By turning on Sub-Object
1. Select an object.
Keys, keys can be moved in space, key properties
2. On the Motion panel, click Parameters, and

open the Assign Controller rollout. Display Panel
3. Select the rotation track in the Assign
Controller list. Command panels > Display panel
4. Click the Assign Controller button, and then

The Display panel provides access to tools that
select TCB Rotation from the Assign Controller control the display of objects in the scene.
dialog.
Use the Display panel to hide and unhide (page
The default Euler XYZ Rotation controller is
3–684), freeze and unfreeze (page 3–680) objects,
replaced with the TCB Rotation controller.
alter their display characteristics, speed up
viewport displays, and simplify your modeling
Interface
procedures.
Note: A target is considered part of its light or
camera for purposes of hiding and unhiding.
Display Panel Rollouts

Display Color Rollout (page 1–49)
Hide By Category Rollout (page 1–50)
Hide Rollout (page 1–51)
Freeze Rollout (page 1–51)
Display Properties Rollout (page 1–52)
Assign Controller—Displays the Assign Controller Link Display Rollout (page 1–55)
dialog. If no track is selected, the Assign Controller
button is unavailable.
Assign Controller dialog—Select a controller from a Display Floater
list of available controllers in this dialog. Tools menu > Display Floater
Depending on the type of track you’ve selected, the
Choose Controller dialog displays a subset of the This modeless dialog contains most of the
different types of controllers. Rotation controllers, functions on the Display panel. You can leave the
for example, are available only for rotation tracks. Display floater up while you work in your scene,
making it easier to change viewport displays
without changing the current command panel.
Interface
The Display floater has two panels: Hide/Freeze
and Object Level.
Display Floater 497
Hide/Freeze panel function. This mode is automatically turned off if

you hide all objects in the scene.
Unhide group
All—Unhides all hidden objects. The unhide
buttons are only available when you have
specifically hidden one or more objects. They
won’t unhide objects hidden by category.
By Name—Displays a dialog in which you can
unhide objects you select from a list.
Note: You cannot unhide objects on a hidden layer.
If you select an object on a hidden layer, you will
be prompted to unhide the object’s layer.
Freeze group
Selected—Freezes the selected object(s) so they
cannot move in the viewport.
Unselected—Freezes all visible objects except the
selected ones. Use this to quickly freeze all the
objects except the one you’re working on.
By Name—Lets you select the objects to freeze by
name.
By Hit—Causes any object you click in the viewport
to be frozen. If you hold the CTRL key while
selecting an object, that object and all of its
children are frozen. To exit Freeze by Hit mode,
right-click, press Escape, or select a different
Hide group
function. This mode is automatically turned off if
Selected—Hides the selected object(s). you freeze all objects in the scene.
Unselected—Hides all visible objects except the
selected ones. Use this to hide all the objects except Unfreeze group
the one you are working on. All—Unfreezes all frozen objects.
By Name—Lets you select the objects to hide by By Name—Displays a dialog in which you can
name. unfreeze objects you select from a list.
By Hit—Causes any object you click in the viewport By Hit—Causes any object you click in the viewport
to be hidden. If you hold the CTRL key while to be unfrozen. If you hold the CTRL key while
selecting an object, that object and all of its selecting an object, that object and all of its
children are hidden. To exit Hide by Hit mode, children are unfrozen.
right-click, press ESCAPE, or select a different
Note: You cannot unfreeze objects on a frozen the All, None, and Invert buttons to change the
layer. If you select an object on a frozen layer, you settings of the check boxes.
will be prompted to unfreeze the object’s layer.
Display Properties group
Hide Frozen Objects—Toggles display of frozen
objects on and off. You don’t have to unfreeze Provides controls that alter the display of selected
objects to hide them; you can use Hide Frozen objects.
Objects instead to hide or unhide frozen objects Display as Box—Toggles the display of selected
in a single step. objects, including 3D objects, 2D shapes,
as bounding boxes (page 3–663). Produces
Object Level panel
minimum geometric complexity.
Backface Cull—Toggles the display of faces with
normals (page 3–704) pointing away from view.
When selected, you see through the wireframe to
the back faces.
Edges Only—Toggles the display of hidden edges
and polygon diagonals (page 3–668). When on,
only outside edges appear. When off, all mesh
geometry appears. Applies to Wireframe viewport
display mode, as well as other modes with Edged
Faces turned on.
Vertex Ticks—Displays the vertices in the selected
geometry as tick marks.
If the current selection has no displayed tick
marks, the check box is clear. If some of the
vertices in the current selection display tick marks,
the check box contains a gray X. If all vertices in
the current selection display tick marks, the check
box contains a black X.
Trajectory—Toggles trajectory display (page
3–741) for the selected object so you can display
its trajectory wherever you are in the software.
See-Through—When turned on, this toggle makes
the object or selection translucent in viewports.
This setting has no effect on rendering: it simply
Hide by Category group lets you see what’s behind or inside an object
Toggles the display of objects by their category in a crowded scene, and especially to adjust
(objects, cameras, lights, and so on). Choose the the position of objects behind or inside the
check boxes to hide objects of that category. Use see-through object. Use this when you need to see
inside an object. Default=off.
Utilities Panel 499
This option is also available from the Display panel See also
(page 3–496) and the Object Properties dialog Interface
(page 1–107).
You can customize the color of see-through
objects by using the Colors panel (page 3–519)
of the Customize > Customize User Interface
dialog (page 3–511). Choose Geometry from the
Elements list, and then choose See-Through.
Ignore Extents—Allows an object to be excluded
from a zoom extents operation. Choose this when
you have lights or other distant objects that you
don’t want to use when you do a Zoom Extents
(page 3–462).
Show Frozen in Gray—When on, the object turns
gray in viewports when you freeze it. When off,
viewports display the object with its usual color or
texture even when it is frozen. Default=on.
The Utilities panel contains one rollout for

Utilities Panel managing and invoking utilities. While a utility
is running, additional rollouts can appear. Some
Command panels > Utilities panel
utilities use a dialog rather than rollouts.
The Utilities panel gives you access to a variety The Utilities rollout contains the following controls
of utility programs. Autodesk VIZ utilities are at the top:
provided as plug-ins (page 3–716). Autodesk VIZ
More—Displays a Utilities dialog that lists all
ships with the utilities listed below. Some utilities
utilities not already displayed in buttons on the
are available from third-party developers, so your
Utilities panel. Highlight a utility in the list and
setup of Autodesk VIZ might include utilities
then click OK to display its controls in the Utilities
not described here. Look for documentation
panel. (You can also double-click the utility’s
describing these additional plug-ins by choosing
name.)
Help > Additional Help (page 3–628).
Note: Documentation for MAXScript and Visual Sets—Displays a list of button sets to choose from.
MAXScript is provided in a separate help system. By default, there is only one button set, called VIZ
To access the MAXScript Reference, choose Help Default. You can create custom button sets by
> MAXScript Reference (page 3–627). See About clicking Configure Button Sets.
MAXScript (page 1–xiv). Configure Button Sets—Displays the Configure
Button Sets dialog (page 3–500), where you can
create custom button sets of up to 32 buttons.
Named utility buttons—These buttons show a Interface

selection of utilities. Click one of these buttons to
run a utility. The utility’s parameters can appear in
rollouts below the Utilities rollout. Some utilities
use a dialog rather than rollouts.
While a utility is running, its button remains active
until you click it again to turn it off and close
the utility, or when you click a different utility’s
button.
Many utilities have a Close button that appears at
the bottom of their rollout. This is another way
to close a utility. If the utility controls appear in
a dialog rather than a rollout, closing the dialog
closes the utility.
Utilities Dialog
Utilities panel > Utilities rollout > More... button
This dialog lists all utilities that are not already

displayed in current button set of the Utility
rollout.
Procedure Configure Button Sets Dialog

To run a utility shown in the Utilities dialog, do one
Utilities panel > Utilities rollout > Configure Button Sets
of the following: button
• Choose a utility in the list and then click OK.
This dialog lets you create custom button sets for
• Double-click the utility’s name.
the Utilities panel. Once created, these utility sets
are available from the Sets button on the Utilities
panel.
Procedures
To customize the current button set:
1. Use Total Buttons to choose the number of
buttons in the set.
2. Assign buttons by dragging the names of
utilities in the Utilities list to buttons in the
Utilities group box.
New Script 501
3. Clear buttons by dragging them to the Utilities NURBS, Radiosity, Strokes, MAXScript Tools,
list on the left. Internet Extensions, and Realviz Products. To add
4. Click OK. a utility to the current button set, drag the utility’s
name from this list to the Utilities group box.
Autodesk VIZ updates the Utilities rollout. You
can customize the button set without saving it, Sets edit field and drop-down list—Lets you choose
but if you save a new button set under a new the button set to modify. By default, there is a
name, you will be able to use it later. single button set called VIZ Default.
Tip: Don’t alter the Default button set. Create a Tip: Don’t alter the Default button set. Create new
new one instead. sets as the need arises.
Save—Saves the current button set.
To create a new button set:
Delete—Deletes the current button set.
1. Create a custom button set as described in the
previous procedure. Warning: You can’t undo the deletion of a button set.
2. Enter a new button set name in the Sets edit Total Buttons—Sets the number of buttons in the
field. button set. A button set can have up to 32 buttons.
3. Click Save.
Utilities group
To choose a button set to modify:
This group previews how the button set will appear
• Choose a button set from the Sets drop-down in the Utilities rollout. A scroll bar on the right
list. lets you see other buttons when the set has more
than eight.
Interface
To change a button, drag the name of a utility from
the Utilities list to a button in this group.
MAXScript Interface
New Script
MAXScript menu > New Script
New Script opens a new MAXScript Editor

window. Use this window for writing a new script.
For detailed information about the MAXScript
Utilities List—This lists all the utilities currently utility, open the MAXScript Reference, available
available to Autodesk VIZ. It is organized into from Help menu > MAXScript Reference.
eight categories: VIZ STANDARD, Utilities,,
which the Listener prints out after each execution.

Open Script You can enter any MAXScript expression or
sub-expression in the Listener for evaluation, and
MAXScript menu > Open Script
the Listener prints out its result.
Open Script opens a common file open dialog for The Listener is divided into two panes. The top
choosing an existing script. A new MAXScript (pink) pane is the Macro Recorder pane, and the
Editor window then displays the selected script. bottom (white) pane is the output pane. When the
Macro Recorder is enabled, everything recorded is
For detailed information about the MAXScript
displayed in the Macro Recorder pane. The output
utility, open the MAXScript Reference, available
of results from scripts are displayed in the output
from Help menu > MAXScript Reference.
pane. The output of code executed in the Macro
Recorder pane is always directed to the output
pane so as not to clutter the recordings. Both
Run Script
panes allow you to cut-and-paste, drag-and-drop,
MAXScript menu > Run Script edit, select, and execute code. You can resize the
panes by dragging on the split bar between them.
Run Script opens a common file open dialog for
The left-end of the status bar contains a resizable
choosing an existing script. MAXScript then reads
Mini Listener. If the Mini Listener is not visible,
and executes the selected script. Any output is
drag on the vertical split bar at the left edge of the
printed to the Listener window.
status bar to reveal the Mini Listener. The Mini
For detailed information about the MAXScript Listener panes act as single-line sliding windows
utility, open the MAXScript Reference, available for the current line in the corresponding Listener
from Help menu > MAXScript Reference. panes. The Mini Listener panes always show what
you are typing or where the edit cursor is placed
in the Listener panes. Conversely, anything you
MAXScript Listener type into a Mini Listener pane is entered into the
corresponding Listener pane at the current edit
MAXScript menu > MAXScript Listener
cursor position.
Mini Listener > Right-click menu > Open Listener Window
Keyboard > F11
The MAXScript Listener window is an interactive The MAXScript Mini Listener on the Status Bar.
interpreter for the MAXScript language and works
similar to a DOS command prompt window. You You can install the Listener into any viewport by
enter MAXScript commands in this window, right-clicking the viewport label, choose Views >
and when you press ENTER they are executed Extended, and then MAXScript Listener.
immediately. For detailed information about the MAXScript
The Listener window is appropriate for performing utility, open the MAXScript Reference, available
interactive work and developing small code from Help menu > MAXScript Reference.
fragments. Each command you execute in the
Listener is actually an expression with a result
Macro Recorder 503
as the Listener window panes or Editor windows,

Macro Recorder onto any visible toolbar. The cursor changes to an
arrow with a + sign when it is OK to drop the text.
MAXScript menu > Macro Recorder
If you drop it, a Macro Script button is added to
the toolbar with the dropped text as the body of
The MAXScript Macro Recorder captures many of
the Macro Script. The classic case here would be
the actions performed by the user, and generates
to drag text from the Macro Recorder pane onto a
the MAXScript commands that correspond to
toolbar to make a button that does the sequence
those actions. Output from Macro Recorder
of events just recorded.
is displayed in the Macro Recorder pane of the
MAXScript Listener window. Several filtering For detailed information about the MAXScript
options are available that control what types of utility, open the MAXScript Reference, available
user actions are recorded, whether the generated from Help menu > MAXScript Reference.
MAXScript commands contain explicit object
references or are selection-relative, and whether
the generated MAXScript commands contain Visual MAXScript Utility (See
absolute or relative transforms and coordinates. MAXScript Reference)
These options are set using the MacroRecorder
menu in the Listener window. The default option Utilities panel > Utilities rollout > More button > Visual
MAXScript
settings are specified in the MAXScript page of the
Autodesk VIZ Preferences dialog, as described
Visual MAXScript is a powerful interface to the
in MAXScript Options (page 3–556). These
Autodesk VIZ scripting language, making the
settings can also be changed or set by editing the
MAXScript feature easier to learn and use. With
[MAXScript] section of the 3dsviz.ini file.
Visual MAXScript, you can quickly create UI
While many areas in the software generate Macro elements and layouts for scripting.
Recorder output, there are also many areas that
For detailed information about Visual MAXScript,
do not. In general, most of the buttons on the
open the MAXScript Reference, available from
software’s menu bar, toolbars, status bar, Create
Help menu > MAXScript Reference.
panel, and Modify panel will generate Macro
Recorder output. If the button invokes a secondary
dialog, changing settings or performing actions
MAXScript Debugger Dialog
in the secondary dialog typically do not generate
Macro Recorder output. In the Create and Modify MAXScript menu > Debugger Dialog
panels, Macro Recorder output will typically
MAXScript Listener > Debugger menu > Debugger Dialog
be generated if the object or modifier can be
created by MAXScript. In some cases, the plug-ins MAXScript Editor > Debugger menu > Debugger Dialog
implementing an object or modifier has not been
updated to support Macro Recorder, so that object The MAXScript debugger implements the first
or modifier will not generate Macro Recorder half of a script development and debugging
output. environment. It allows the main thread of
Autodesk VIZ to be suspended, the values of
MAXScript supports text drag-and-drop onto
global and local variables to be examined and
toolbars to create Macro Script buttons. You can
altered while the thread is not running, MAXScript
select and drag text from any text window, such
commands to be executed from a command Launch scripts need not be batch scripts as in
line, and the execution to be suspended using this example, but may be used to condition
method calls from inside the MAXScript code. Autodesk VIZ for interactive use, for example by
The debugger also lets you stop or continue the loading a scene file and setting some user-interface
execution of the suspended code. options.
For detailed information about the MAXScript The normal startup scripts, startup.ms and those
debugger, consult the MAXScript Reference, in the \scripts\startup directory, are run before the
available from Help menu > MAXScript Reference. launch script. It is also possible to install scripts
into individual scene files that run automatically
when that scene is open or closed or at certain
Running Scripts from the other events.
Command Line Note: Command line -U MAXScript startup scripts
Autodesk VIZ allows you to enter MAXScript are run after Autodesk VIZ has completely booted
commands directly on the command line. When and the standard scripts and startup scripts have
you launch Autodesk VIZ from a DOS command been run.
line, you can have it run a specified launch script.
This can be useful for tasks such as unattended MAXScript Command-Line Switches
batch-rendering. This capability uses the existing The following switches work specifically with
-U command line switch that names a utility to MAXScript files and functions.
be run when Autodesk VIZ is started. The -U
switch allows an optional extra argument which, Switch Effect
for MAXScript, is taken to be the name of the -mip Starts Autodesk VIZ in a minimized mode –
but never allows you to open the window
launch script to run. The case (capitalization) of
for interactive usage.
MAXScript must be as shown in the following
-mxs This switch is essentially the same as -U
example (entered after you CD to the program MAXScript file.ms, but avoids the need for
directory): the .ms file. You can follow the switch with
MAXScript commands.
See the online User Reference to view this code
sample. Examples of desired syntax usage:
This example command line would launch See the online User Reference to view these code
the Autodesk VIZ executable in c:\Program samples
Files\Autodesk VIZ 2006, start MAXScript, and
then have it run the launch script rendercams.ms.
The following example launch script loads two
scenes, renders frames from each of the cameras in
them, and then quits Autodesk VIZ:
See the online User Reference to view this code
sample.
This example makes use of the quitMax() method
to exit Autodesk VIZ when the script is finished.
Customizing the User Interface
Procedures
Customizing the User Interface To switch between a single-viewport and
You can rearrange the components of the multi-viewport layout:
Autodesk VIZ user interface, including the menu
bar, toolbars, and command panel. You can also • By default, Autodesk VIZ starts with a
dynamically resize the viewport windows. You can single viewport. To switch to a multi-viewport
specify which toolbars should appear and which layout, click the Min/Max Toggle (page 3–459).
should be hidden, and create your own keyboard
To resize the windows in a multi-viewport layout:
shortcuts, custom toolbars, tool palettes, and quad
menus. You can also customize the colors used in • With your cursor, click the splitter bar between
the User Interface. any two viewports, or at the intersection of all
four viewports, and drag to a new location.
The procedures in this topic tell how to rearrange When you release the mouse, the new viewport
and resize UI components. Various other layout is defined.
customization options are available from the
Customize menu (page 3–393). The dividers are saved in the scene, but are reset
when you change the layout. This feature does
See also not allow you to define new layouts, only to
adjust the proportions of the currently existing
Customize Display Right-Click Menu (page ones.
3–507)
To reset the viewport windows to the default layout:
Customize User Interface Dialog (page 3–511)
1. Right-click the splitter bar between the
Saving and Loading Custom User Interfaces (page
viewports.
3–525)
The Reset Layout button is displayed.
Revert to Startup Layout (page 3–529)
2. Click this button to restore the viewports to the
Configure Paths (page 3–529) default multi-viewport layout.
Preferences (page 3–536)
506 Chapter 18: Customizing the User Interface
To rearrange the order of rollouts in the command To resize the floating command panel horizontally:
panel:
• Move the cursor over the left or right edge of the
• Click the rollout title bar, and drag to another floating command panel. The cursor changes
location on the command panel. A thick line to a double arrow. Drag the cursor to increase
indicates where the rollout will be placed. or decrease the width of the command panel.
When you release the mouse button, the rollout
The command panel grows or shrinks in
is moved to the indicated location, and the
column increments. Unless the command
other rollouts are shifted appropriately.
panel is hidden, there is always at least one
The order of rollouts is saved in the text file column. When the command panel is floating,
rolluporder.cfg, which is located in the \ui you can display as many columns as you want.
subdirectory.
To resize the floating command panel vertically:
To float a toolbar, do one of the following:
• Move the cursor over the top or bottom edge
• Click a docked toolbar’s tag bar (a narrow line of the floating command panel. The cursor
displayed when the toolbar is docked) and drag changes to a double arrow. Drag the cursor to
it away from its location. The toolbar is now increase or decrease the height of the command
floating; you can reposition, resize, or dock it. panel as you do for other windows on the
• Right-click a docked toolbar’s tag bar (a narrow desktop.
line displayed when the toolbar is docked), and
To dock a floating UI element, do one of the
then choose Float.
following:
To float the command panel, do one of the following: • Drag the panel by its title bar to the top, bottom,
• Right-click the blank area at the upper-right left, or right edge of the program window. The
corner of the command panel, and then choose mouse cursor and the panel outline change
Float. shape at a docking location. Release the mouse.
• Click a corner of the upper portion of the • Right-click the title bar, choose Dock from the
command panel and drag it into the viewport. pop-up menu, and then choose Top, Bottom,
Left, or Right.
To resize the docked command panel horizontally: • Double-click the handle or title bar.
• Move the cursor over the edge of the docked A UI element docks automatically when it
command panel that is nearest the viewports. approaches a "dockable" location. The toolbars
The cursor changes to a double arrow. Drag the and menu bar can dock at the top or bottom,
cursor to increase or decrease the width of the left or right of the viewports. They can also
command panel. dock on either side of the Command panel.
The command panel grows or shrinks in
column increments. Unless the command panel To hide a panel or toolbar, do one of the following:
is hidden, there is always at least one column. • When a panel or toolbar is floating, you
When the command panel is docked, the can hide it by clicking the X control in the
columns must fit within the main Autodesk VIZ upper-right corner.
window.
Customize Display Right-Click Menu 507
To hide the Tool Palettes window: Interface

• When the Tool Palettes window is open, you The following options are displayed in all cases:
can hide it by clicking the X at the top of the
Customize—Displays the Customize User Interface
title bar. If the Auto-Hide toggle is on, turn it
dialog (page 3–511), which lets add commands
off so that only the title bar displays when using
and macro scripts to new and existing toolbars.
other areas of the program.
Command Panel—Toggles the command panel
display. By default, this is displayed.
Customize Display Right-Click
Main Toolbar—Toggles the main toolbar (page
Menu 3–395). By default, this is displayed.
The Customize Display right-click menu displays
Axis Constraints—Toggles the Axis Constraints
when you right-click over a blank area of a toolbar
toolbar (page 3–396). By default, this toolbar is
(not when the cursor is over a button). It is also
not displayed.
available when the cursor is immediately above,
below, or to the right of the command panel tabs: Layers—Toggles the Layers toolbar (page 3–397).
in these locations, the cursor changes to look like a By default, this is displayed as a floating toolbar.
stack of two sheets of paper. In addition, the menu Extras—Toggles the Extras toolbar (page 3–397).
displays when you right-click at the right edge By default, this is not displayed.
of the command panel when docked, or, when
floating, at the right or left edge. Snaps—Toggles the Snaps toolbar (page 3–398).
By default, this is not displayed.
Render Shortcuts—Toggles the Render
Shortcuts toolbar (page 3–397). By default, this is
not displayed.
Additional Options: Docking and Floating

Depending on the cursor location when you
right-click, the menu can also display these
options:
Dock—Docks the active item to the specified
location: Top, Bottom, Left, or Right.
Note: For more information on docking toolbars,
see Customizing the User Interface (page 3–505).
Float—Floats the active item.
Right-click a blank area of a toolbar to open the Customize Note: This is available only for docked items.
Display right-click menu.
Use this menu to turn on and off the display of

various user interface elements, customize the
display of toolbars, and dock or float items such
as the command panel.
Show UI Lock UI Layout

Customize menu > Show UI Customize menu > Lock UI Layout
When the Lock UI Layout toggle is active, you

cannot modify the user interface layout by
dragging interface elements. (You can still use
the right-click menu to do so, however.) Use this
command to prevent user interface changes or
The Show UI submenu lets you add or remove UI
inadvertent actions, such as floating toolbars, from
(user interface) elements from the workspace, so
happening due to mouse clicks.
that you can customize your screen as you work.
You can turn these elements on and off as you need Tip: Use this command if you find you are
by selecting them from the menu, maximizing inadvertently selecting and floating (page 3–669)
the efficiency of your workspace. The settings are UI elements such as the Command panel.
stored in the vizstart.cui file, so they will remain
after you shut down and restart Autodesk VIZ. Procedure
To lock the UI layout:
When you choose a UI element from the Show
UI submenu, it will be displayed or hidden, • Choose Lock UI Layout from the Customize
depending on its previous state. If it was hidden menu.
when you selected it from the menu, it will be You can no longer move or resize the UI
displayed. If it was displayed when you selected it elements. Use this command to prevent
from the menu, it will be hidden. The Show UI user interface changes or if you find yourself
menu displays a check mark next to the UI element accidentally floating toolbars or the command
when it is currently being displayed. panels on mouse clicks.
Keyboard shortcuts for turning on and off UI
elements are displayed next to their corresponding
UI elements in the Show UI menu. Plug-In Manager
You can use the Show UI menu to hide or display Customize menu > Plug-in Manager
the following UI elements:
The Plug-in Manager lets you manage plug-ins
Command Panel (page 3–478) dynamically without any initialization required.
Floating Toolbars (displays Axis Constraints The Plug-in Manager provides a list of all plug-ins
Toolbar (page 3–396), Layers Toolbar (page found in the Autodesk VIZ plug-in directories,
3–397), and Extras Toolbar (page 3–397)) including the plug-in description, type (object,
helper, modifier, and so on), status (loaded or
Main Toolbar (page 3–395) deferred), size, and path. The Plug-in Manager
Track Bar (page 3–432) provides options to load any plug-in, regardless
where it resides on disk. The Plug-in Manager is
similar to Summary Info (page 3–111), but with
more options.
Custom UI and Defaults Switcher 509
See also Load Path—The path of the plug-in directory.
3rd Party Plug-Ins Path Configuration (page

Right-Click Menu
3–535)
The right-click menu for the Plug-in Manager
Interface works in the list of plug-ins, and in the blank area
beneath the list. It does not work in the list of
plug-in directories. The commands apply to two
possible states for the listed plug-ins: selected (that
is, highlighted) and tagged (a check mark appears
to the left of the plug-in’s name).
Selected Plug-ins—To load plug-ins, highlight
one or more plug-ins, choose this item, and then
choose Load.
When you start the Plug-in Manager, it scans
through all the plug-in paths specified in the Clear Selection—Removes highlighting from all
plugin.ini file and lists them in the Plug-in items in the list.
Manager dialog. The information is divided up Tagged Plug-ins—To load tagged plug-ins, choose
into columns as described below. this item, and then choose Load.
Tag—Use the right-click menu and select Tag
Tag Selected—Tags all highlighted plug-ins.
Selected to add a check mark for selected plug-ins.
Tagging plug-ins lets you perform right-click Clear Tags—Clears all tags.
menu actions on them. Thus you can tag multiple Load New Plug-in—Loads a plug-in from the hard
plug-ins and perform a single operation on all of drive. Use the file dialog to locate the plug-in, and
them. then click Open.
Name—The filename of the plug-in. Refresh View—Refreshes the list of plug-ins.
Description—A description of the plug-in.
Status—Indicates whether the plug-in is loaded

Custom UI and Defaults Switcher
(green) or deferred (yellow).
Customize menu > Custom UI and Defaults Switcher
Size—File size of the plug-in.
Full Path—The disk location of the plug-in file. Artists and designers in different industries use
Autodesk VIZ in different ways. The Custom UI
Plug-in Directories and Defaults Switcher lets you quickly change your
These are the plug-in directories listed in program defaults and UI scheme to more closely
plugin.ini. You can also configure these paths via match the type of work you are doing.
the Plug-Ins panel (page 3–535) of the Configure The Initial settings for tool options control
Paths dialog. You can display or hide all the the default settings for various features in
plug-ins in a directory by toggling the check box. Autodesk VIZ, while the UI Schemes control how
Description—Shows directory description from
the Autodesk VIZ interface will look.
plugin.ini file.
The dialog displays a detailed explanation for For information on creating or editing defaults
each of the default sets and the default UI Scheme sets, see Market-Specific Defaults (page 3–510).
that ships with Autodesk VIZ. If you create your Note: You must restart Autodesk VIZ before new
own defaults or UI Scheme, they will also appear defaults are applied.
in the list, however you cannot edit the general
description of custom default sets or UI schemes. UI Schemes—This list contains all of the UI
schemes defined in the \UI folder. Autodesk VIZ
See also ships with one UI scheme: DefaultUI. Highlight
the name of the UI scheme in the list to see a
Market-Specific Defaults (page 3–510) description (and image) of the interface.
Interface This list also contains any UI schemes you have

saved with the Save Custom UI Scheme dialog
(page 3–527). However, no description or image is
displayed for these schemes.
Set—Applies the selected default settings and UI
scheme to Autodesk VIZ.
Note: You must restart Autodesk VIZ before your
defaults are applied.
Cancel—Closes the dialog without applying any
changes.
Market-Specific Defaults
Autodesk VIZ offers two sets of defaults, tailored
specifically for design visualization projects, both
with and without the use of the mental ray renderer
Initial settings for tool options—This list contains
(page 2–1377). The sets are each located in their
different sets of default settings for various tools in
own sub-directories of the \defaults directory.
Autodesk VIZ. Highlight the set that corresponds
These sub-directories each contain an INI file
to the tools you are using.
(currentdefaults.ini), which contains the global
Autodesk VIZ ships with two default sets: parameter defaults, a default material library
• DesignVIZ contains the set for design (medit.mat), which populates the Material Editor
visualization use without the mental ray at startup, and a startup file (vizstart.max), which
renderer. is the file that opens when Autodesk VIZ is started
or when you reset. You can edit any of these files,
• DesignVIZ.mentalray contains the set for and you can also create your own sets, however
design visualization use with the mental ray each set must be in a separate sub-directory of
renderer. \defaults. in addition, each file in the directory
Highlight any of these sets to see detailed should have the same names (currentdefaults.ini,
explanations of the affected settings. medit.mat, and maxstart.max). If one of these
files is not present in a custom defaults directory
Customize User Interface Dialog 511
that you have created, Autodesk VIZ uses the medit.mat

corresponding file from the \defaults\DesignVIZ
medit.mat is the default material library in your
directory in its place.
scene.
Note: For your protection, both of the preset
default directories have a sub-directory named vizstart.max
\factorydefaults, which contains the original files The vizstart.max file is loaded when you start or
for each set. These can be used in the event that
reset Autodesk VIZ.
you have changed your defaults and are unhappy
with the results. They are also a useful starting
point for creating your own set; copy them to a new
directory and edit them. It is highly recommended
that you do not edit the files in the \factorydefaults
directories.
Customize User Interface
Default sets are assigned through the Custom UI
Dialog
and Defaults Switcher (page 3–509). Customize menu > Customize User Interface
Procedure The Customize User Interface dialog lets you create

To change the current set of defaults: an entirely customized user interface, including
shortcuts, quad menus, menus, toolbars, tool
1. Choose Customize menu > Customize UI And
palettes, and colors. You can also add commands
Defaults Switcher.
and macro scripts by selecting either a text or icon
2. Select one of the default sets from the Initial button to represent the command or script on the
settings for tool options list and click Set. toolbar.
3. Restart Autodesk VIZ to load the new default Most commands in the Autodesk VIZ user
parameters. interface appear in this dialog as action items. An
action item is simply a command that you can
Interface assign to a keyboard shortcut, toolbar, quad menu,
The following files should be included in your or menu. The Keyboard, Toolbars, Quads, and
default directory. If one or more of these files Menus panels of this dialog show tables of action
is not present in the current Default directory, items that you can assign. (Tables in the Colors
Autodesk VIZ will use the corresponding file from panel list UI elements, instead.)
\defaults\DesignVIZ in its place. Note: A few action items don’t correspond to
any elements in the default user interface. See
currentdefaults.ini Additional Keyboard Commands (page 3–381).
The following table describes all of the sections Keyboard Panel (page 3–512)
that can be set in a default INI file. Any parameter
with a blank or invalid value will use the hard Toolbars Panel (page 3–513)
coded default. Quads Panel (page 3–515)
Note: See the online User Reference to view this
Menus Panel (page 3–517)
table.
Colors Panel (page 3–519)
Tool Palettes Panel (page 3–520) 3. Click action in the Action list to highlight it.
4. In the Hotkey field, enter the keyboard shortcut
See also you want to assign to the action.
Customizing the User Interface (page 3–505) 5. Click Assign.
Saving and Loading Custom User Interfaces (page
3–525) Interface
Keyboard Panel
Customize menu > Customize User Interface > Keyboard
tab
The Keyboard panel lets you create your own

keyboard shortcuts. You can assign shortcuts to
most commands available in the software.
The same shortcuts can be assigned to multiple
commands, as long as they occur in different
contexts. For example, in Video Post, CTRL+S is
assigned to Add Scene Event; however, in the Main
UI, it is assigned to Save File.
When you use a keyboard shortcut, the software Group—Displays a drop-down list that lets you
looks for a context-specific shortcut first, and select the context you want to customize, such as
if none is found it looks for the appropriate Main UI, Track View, Material Editor, and so on.
command in the Main UI shortcuts.
Active—Toggles availability of context-specific
The Keyboard Shortcut Override toggle (page keyboard shortcuts. When this is turned on, you
3–602) must be turned on (the default) for the can use duplicate shortcut keys between contexts
context-specific shortcuts to work properly. If it is within the overall user interface. For example, A
turned off, only the Main UI keyboard shortcuts can be the shortcut for Angle Snap toggle within
will be available. the Main UI, and also a shortcut for Assign
Material to Selection when you are working in
See also the Material Editor. When this is turned off, the
Default Keyboard Shortcuts (page 3–601) shortcuts defined for the appropriate context will
not be available. Default=on.
Procedure Category—Displays a drop-down list of all the
To create a keyboard shortcut: available categories of user interface actions for the
1. Choose Customize menu > Customize User selected context.
Interface > Keyboard panel. Action list—Displays all the available actions
2. Use the Group and Category lists to find the and shortcuts, if defined, for the selected group
action for which you want to create a shortcut. (context) and category.
Toolbars Panel 513
Hotkey—Allows you to enter a keyboard shortcut. Procedures

Once the shortcut is entered, the Assign Button To create your own toolbar:
is active.
1. Choose Customize menu > Customize User
Assigned To—Displays the action a shortcut is Interface > Toolbars tab.
assigned to if the shortcut you’ve entered is already
2. Click New.
assigned.
The New Toolbar dialog appears.
Assign—Activates when you enter a keyboard
3. Enter the name of the toolbar and click OK.
shortcut in the Hotkey field. When you click
Assign, it transfers the shortcut information to the The new toolbar appears as a small floater.
Action list on the left side of the dialog.
To add a command to the toolbar:
Remove—Removes all shortcuts for the selected
action in the Action list on the left side of the
Interface > Toolbars tab.
dialog.
You can also right-click the label of the toolbar
Write Keyboard Chart—Displays the Save File As
you just created, and then choose Customize.
dialog. Allows you to save any changes you’ve
made to keyboard shortcuts to a TXT file that you 2. Choose the toolbar you want to edit from the
can print. drop-down list.
3. There are three ways to add commands to the
Load—Displays the Load Shortcut File dialog.
toolbar:
Allows you to load custom shortcuts, from a KBD
file into your scene. • In the Customize User Interface dialog, drag
the command from the action list. If the
Save—Displays the Save Shortcut File As dialog.
action has a default icon assigned to it (it
Allows you to save any changes you’ve made to the
will be next to the command in the action
shortcuts to a KBD file.
list), the icon will appear as a button on
Reset—Resets any changes you’ve made to the your toolbar. If no icon is assigned to the
shortcuts to the default setup (defaultui.kbd). command, the name of the command will
appear as a button on the toolbar.
• CTRL+drag buttons from any toolbar onto
Toolbars Panel your toolbar. This creates a copy of the
Customize menu > Customize User Interface > Toolbars button on your toolbar.
tab
• ALT+drag buttons from any toolbar onto
your toolbar. This moves the button from
The Toolbars panel lets you edit existing toolbars
the original toolbar onto your toolbar.
and create your own custom toolbars. You can
add, remove, and edit buttons on existing toolbars, To record a script and add it to a toolbar:
or you can delete the toolbars entirely. You can also
1. Open a MAXScript Listener window, by doing
create custom toolbars with both Autodesk VIZ
one of the following:
commands and scripts.
• Choose Utilities panel > MAXScript >
MAXScript rollout > Open Listener.
• Right-click a viewport label, and then Toolbars List—Displays the Axis Constraints,
choose Views > Extended > MAXScript Extras, and Layers toolbars, and any additional
Listener. toolbars you’ve created using the New button.
2. Choose MAXScript menu > Macro Recorder. New—Displays the New Toolbar dialog. Enter the
3. Perform the actions you want to record. name of the toolbar you want to create and click
OK. The new toolbar appears as a small floater.
4. Select the lines in the script that you want. Drag
those lines directly onto the toolbar. Once you’ve created a new toolbar, there are three
Note that your macro might require some ways to add commands:
minor editing to remove extraneous steps or to • Drag actions from the Action Window in the
refine the procedure. Toolbars panel of the Customize User Interface
dialog onto your toolbar.
You can edit the appearance of the text or icons
on your toolbars with the Edit Button Appearance • CTRL+drag buttons from any toolbar onto
(page 3–524) command, which is available when your toolbar. This creates a copy of the button
you right click the toolbar button. on your toolbar.
• ALT+drag buttons from any toolbar onto
Interface your toolbar. This moves the button from the
original toolbar onto your toolbar.
Delete—Deletes the toolbar item displayed in the
Toolbars list.
Rename—Displays the Rename Toolbar dialog.
Select a toolbar from the Toolbars list to activate
the Rename button. Click Rename, change the
name of the toolbar, and click OK. The toolbar
name changes in the toolbar floater.
Hide—Toggles the displays of the active toolbar in
the toolbars list.
Load—Displays the Load UI File dialog. Allows
you to load custom user interface files into your
scene.
Save—Displays the Save UI File As dialog. Allows
Group—Displays a drop-down list that lets you
you to save any changes you’ve made to the user
select the context you want to customize, such as
interface to a .cui file.
Main UI, Track View, Material Editor, and so on.
Reset—Resets any changes you’ve made to the user
Category—Displays a drop-down list of all the
interface to the default setup (defaultUI.cui).
available categories of user interface actions for the
selected context.
Action Window—Displays all the available actions
for the selected group and category.
Quads Panel 515
4. Choose the appropriate Group and Category

Quads Panel from the respective drop-down lists.
Customize menu > Customize User Interface > Quads tab 5. Choose a command from the action list and
drag it into the Quad Menu window.
The Quads panel lets you customize the quad Use the same procedure to add menus and
menus (page 3–399). You can create your own separators to your quad set.
quad menu sets, or you can edit existing sets. In
the Quads panel, you can customize menu labels, To delete a quad set:
functionality, layout, and shortcuts. The advanced
Note: You cannot delete any of the default quad
quad menu options (page 3–522) let you modify sets.
the color and behavior of the quad menu system.
You can also save and load custom menu sets. 1. Choose Customize menu > Customize User
Interface > Quads tab.
See also 2. Choose the quad set you want to delete from
Additional Quad Menus (page 3–401) the upper-right drop-down list.

3. Click Delete.
Procedures
To remove a command from a quad set:
To create a new quad set:
2. Choose the quad set you want to edit from the
2. Click New.
upper-right drop-down list.
The New Quad Set dialog appears.
3. Choose the command you want to remove.
3. Enter the name of the quad set and click OK.
4. Press the Delete button.
The new set appears in the Quad set list.
Use the same procedure to remove menus and
To add a command to a quad set: separators from your quad set.
1. Choose Customize menu > Customize User To move a command in a quad set:
• Choose the command in the quad set list and
2. Choose the quad set you want to edit from the drag it to a new position in the list.
upper-right drop-down list.
If you want to change the name of the quad
set, click Rename and enter a new name in the
Rename Quad Set dialog.
3. Select the quadrant where you want to place the
command.
You can edit the name of the quadrant by
changing the text in the Label area.
Interface Quad Set List—Displays the available quad sets.
Additional quad menus (page 3–401) appear

in this list. They can be edited, renamed, and
reorganized; however, they cannot be deleted.
New—Displays the New Quad Set dialog. Enter the
name of the quad set you want to create and click
OK. The new quad set appears in the Quad Set list.
Delete—Deletes the item displayed in the Quad Set
list.
Rename—Displays the Rename Quad Set dialog.
Select a quad set from the Quad Set list to activate
the Rename button. Click Rename, change the
name of the quad set, and click OK to change the
name.
Group—Displays a drop-down list that lets you Quad Shortcut—Allows you to define a keyboard
select the context you want to customize, such as shortcut for displaying the quad set. Enter the
Main UI, , Material Editor, and so on. shortcut and click Assign to make the change.
Category—Displays a drop-down list of the Show All Quads—When on, a viewport right-click
available categories of user interface actions for the shows all four quad menus. When off, a viewport
selected context. right-click shows only one quad at a time.
Action Window—Displays all the available actions Label—Displays the label for the highlighted
for the selected group and category. To add an quadrant (shown in yellow to the left of the Label).
action to a specific quad set, select it and drag it Quad Menu Window—Displays the menu options
to the quad menu window on the right side of for the currently selected quad menu and quad set.
this dialog. Right-click an action in this window To add menus and commands, drag options from
to edit the macro script that defines the action (if the Action and Menus windows to this window.
there is one).
Items included in the quad menu are displayed
Separator Window—Displays a separator line that only when they are available. For example, if
can be used to separate groups of menu items in your quad menu contains Track View Selected,
a quadrant. To add a separator line to a specific the command will display only if you have an
quad set, select it and drag it to the quad menu object selected when you open the quad menu.
window on the right side of this dialog. The quadrant will not be displayed if none of the
Menus Window—Displays the names of all commands are available when you open the quad
Autodesk VIZ menus. To add a menu to a specific menu.
quad set, select it and drag it to the quad menu There are several actions available when you
window on the right side of this dialog. Right-click right-click any item in the quad menu window:
a menu in this window to delete the menu, rename
it, or create a new, empty menu. Delete Menu Item—Removes the selected action,
separator, or menu from the quad menu.
Menus Panel 517
Edit Menu Item Name—Opens the Edit Menu Item The new menu appears in the menu list.
Name dialog. The Customize Name check box
must be on to edit the name. Enter the desired To add a command to a menu:
name in the name text field and click OK. The 1. Choose Customize menu > Customize User
item’s name is changed in the quad menu, but not Interface > Menus tab.
in the quad menu window.
2. Choose the menu you want to edit from the
Flatten Sub-Menu—Displays contents of selected drop-down list.
submenu on top level of quad. When this is If you want to change the name of the menu,
selected, the menu name will be followed by the click Rename, and enter a new name in the
string: [FLAT]. Rename Menu dialog.
Edit MacroScript—Opens the macro script for the 3. Choose the appropriate Group and Category
selected action in a MAXScript editor window. from the respective drop-down lists.
Advanced Options—Opens the Advanced Quad 4. Choose a command from the action list and
Menu Options dialog (page 3–522). drag it into the Menu window.
Load—Displays the Load Menu File dialog. Allows Use the same procedure to add menus and
you to load custom menu files into your scene. separators to your menu.
Save—Displays the Save Menu File As dialog. To delete a menu:

Allows you to save any changes you’ve made to the
quad menus to a MNU file.
Interface > Menus tab
Reset—Resets any changes you’ve made to the
2. Choose the menu you want to delete from the
quad menus to the default setup (defaultui.mnu). drop-down list.
3. Click Delete.
Menus Panel
To remove a command from a menu:
Customize menu > Customize User Interface > Menus tab 1. Choose Customize menu > Customize User
Interface > Menus tab.
The Menus panel lets you customize the menus
2. Choose the menu you want to edit from the
in the software. You can edit existing menus or
drop-down list.
create your own. You can customize menu labels,
functionality, and layout. 3. Choose the command you want to remove.
4. Press the Delete key.
Procedures
Use the same procedure to remove menus and
To create a new menu: separators from your menus.
Interface > Menus tab. To move a command in a menu:
2. Click New. • Choose the command in the menu window and

drag it to a new position in the window.
The New Menu dialog appears.
3. Enter the name of the menu, and click OK.
Interface Menu List—Displays the default menus as well as

any new ones you create or load.
New—Displays the New Menu dialog. Enter the
name of the menu you want to create and click OK.
The new menu appears in the menu window on the
left side of the dialog as well as in the Menu List.
Delete—Deletes the item displayed in the menu
list window.
Rename—Displays the Edit Menu Item Name
dialog. Select a command in the menu list window
and click Rename. This dialog lets you specify a
custom name that will be displayed in the menu.
If you precede a letter in the custom name with
the “&” (ampersand) character, that letter will be
used as a menu accelerator.
Group—Displays a drop-down list that lets you Menu Window—Displays the menu options for the
select the context you want to customize, such as: menu currently selected in the menu list. To add
Main UI, Track View, Material Editor, and so on. menus and commands (actions), simply select
Category—Displays a drop-down list of the and drag the options from the Action and Menus
available categories of user interface actions for the windows to this window.
selected context. There are several actions available when you
Action Window—Displays all the available actions right-click any item in the menu window:
for the selected group and category. To add an Delete Menu Item—Removes the selected action,
action to a specific menu, select it and drag it to separator, or menu from the menu.
the menu window on the right side of this dialog.
Right-click an action in this window to edit the Edit Menu Item Name—Opens the Edit Menu Item
macro script that defines this action (if there is Name dialog. The Customize Name check box
one). must be on to edit the name. Enter the desired
name in the name text field and press OK. The
Separator Window—Displays a separator line that item’s name is changed in the menu, but not in
can be used to separate groups of menu items. To the menu window. If you precede a letter in the
add a separator to a specific menu, select it and custom name with the “&” (ampersand) character,
drag it to the menu window on the right side of that letter will be used as a menu accelerator.
this dialog.
Edit MacroScript—Opens the script for the selected
Menu Window—Displays the names of all menus. action in a MAXScript editor window.
To add a menu to another menu (shown in the
Menu List), select and drag it to the menu window Load—Displays the Load Menu File dialog. Allows
on the right side of this dialog. Right-click a menu you to load custom menu files into your scene.
in this window to delete the menu, rename it, or
create a new, empty menu.
Colors Panel 519
Save—Displays the Save Menu File As dialog. UI Elements List—Displays a list of the available
Allows you to save any changes you’ve made to the elements for the selected user interface category.
menus to a .mnu file.
Color—Displays the color for the selected category
Reset—Resets any changes you’ve made to the and element. Click to display the Color Selector
menus to the default setup (defaultui.mnu). where you can change the color. After selecting
a new color, click Apply Colors Now to make the
change in the interface.
Colors Panel Reset—Resets the color to the default value.
Customize menu > Customize User Interface > Colors tab
Intensity—Sets a grayscale value for the display of
the grid lines. 0 is black and 255 is white.
The Colors panel allows you to customize the look
of the software interface. You can adjust the colors This control is available only when you select the
for almost every element in the interface, giving Set By Intensity element from the Grids element.
you the freedom to design your own unique style. This affects the intensity of the grid lines in the
viewports.
The quad menu colors cannot be customized from
the Color panel. To customize quad menu colors, Invert—Inverts the grayscale value for the display
use the Advanced Quad Menu Options dialog of grid lines. Dark gray becomes light gray and
(page 3–522). vice versa.
This control is available only when you select the
Interface Set By Intensity element from the Grids element.
Scheme—Allows you to select whether the main
UI colors are set to the default Windows colors or
whether they can be customized. If Use Standard
Windows Colors is selected, all of the elements in
the UI Appearance list are disabled, and you are
unable to customize the UI colors.
UI Appearance List—Displays all the elements in
the user interface that can be changed.
Color—Displays the color for the selected UI
appearance item. Click to display the Color
Selector where you can change the color. After
selecting a new color, click Apply to make the
change in the interface.
Elements—Displays a drop-down list that lets you Reset—Resets the selected UI appearance item.
select from the following high-level groupings:
Saturation—Sets a saturation scale of enabled or
Geometry, Gizmos, Grids, HSDS Controls,
disabled icons in the UI. The higher the saturation,
Manipulators, Material Editor, Objects, Rollouts,
the less gray the color. See Red, Green, Blue / Hue,
Schematic View, Track View, Track bar, Unwrap
Saturation, Value (page 3–722).
Colors, UVW Map, Vertex Paint and Viewports.
This control is only available when Icons: Enabled

or Icons: Disabled is selected in the UI Appearance Tool Palettes Panel
list.
Customize menu > Customize User Interface > Tool
Palettes tab
Value—Sets the value scale of enabled or disabled
icons in the UI. The higher the value, the brighter Right-click on Tool Palettes title bar > Customize
the color. See Red, Green, Blue / Hue, Saturation,
Value (page 3–722). The Tool Palettes panel lets you customize the tool
palettes in the Tool Palettes window and create and
This control is only available when Icons: Enabled
manage palette groups.
or Icons: Disabled is selected in the UI Appearance
list. Palette groups are collections of palettes you
choose to group together and can be exported to
Transparency—Sets the transparency value scale of
an XPG file that can be imported by other users,
enabled or disabled icons in the UI. The higher the
thereby allowing others to share palette groups.
value, the more opaque the icon will be.
This control is only available when Icons: Enabled Procedures
or Icons: Disabled is selected in the UI Appearance To create a new palette:
list.
1. Right-click on an empty area in the Palettes
Invert—Inverts the RGB value for the display of window.
enabled or disabled icons in the UI. 2. Select New Palette from the right-click menu.
This control is only available when Icons: Enabled A blank palette is created in the Tool Palettes
or Icons: Disabled is selected in the UI Appearance window. It is also displayed in the Tool Palettes
list. window when All Palettes are displayed.
Apply Colors Now—Makes any change you have
To rename a palette:
entered using this dialog active in the user
interface. 1. Right-click on the palette you want to rename.
Load—Displays the Load Color File dialog. Allows 2. Select Rename from the right-click menu.
you to load custom color files into your scene. 3. Enter a new name, and press ENTER.
Save—Displays the Save Color File As dialog. The palette name is updated in the Palettes
Allows you to save any changes you’ve made to the window and in the Tool Palettes window.
user interface colors to a CLR file.
To delete a palette from the Palettes window:
Reset—Resets any changes you’ve made to the
1. Right-click on the palette you want to
colors to the default setup (defaultui.clr).
permanently delete.
2. Select Delete from the right-click menu.
The palette is removed from the Tool Palettes
window.
Tool Palettes Panel 521
To create a new palette group: Note: A palette group must contain one or more
1. Right-click on an empty area of the Palette palettes to be made current.
Groups window.
To import a palette group:
2. Select New Group from the right-click menu.
1. Right-click in an empty area of the Palette
The new palette group is added to the list of Groups window.
palette groups in the Tool Palettes tool palettes
2. Select Import from the right-click menu.
title bar right-click menu (page 3–421).
3. In the Import Group dialog, browse to the .xpg
To add a palette to a palette group: file you want to import.
1. Drag a palette from the Palettes window to a 4. Click Open.
palette group in the Palette Groups window. The palette group is displayed in the Palette
2. When the cursor displays a + sign, release the Groups window.
mouse button.
To export a palette group:
The palette now displays below the palette
group name. 1. Right-click on the palette group or nested
group you want to export.
Note: You can only drag one palette at a time.
2. Select Export from the right-click menu.
To remove a palette from a palette group: 3. In the Export Group dialog, enter a file name.
1. Right-click on the palette you want to remove. 4. Click Save.
2. Select Remove from the right-click menu. The palette group is exported as an .xpg file.
To create a nested palette group: To export all palette groups:
1. In the Palette Groups window, right-click on a 1. Right-click on an empty area in the Palette
palette group. Groups window.
2. Select New Group from the right-click menu. 2. Click Export All from the right-click menu.
A new group is created below the palette group 3. In the Export Group dialog, enter a new file
you selected. name or accept the default which is the first
palette group name that is displayed in the
To make a palette group current in the Tool Palettes
Palette Groups window.
window:
4. Click Save.
1. In the Palette Groups window, right-click on
the palette group you want displayed in the Tool The palette groups are exported to an .xpg file.
Palettes window.
2. Select Set Current from the right-click menu.
The palettes in the selected palette group are
now available in the Tool Palettes window. The
title bar is updated to display the name of the
current palette group.
Interface Rename—Allows you to rename a group.
Remove—(right-click on a palette) Allows you to

remove the palette from the group.
Delete—Deletes the selected group.
Set Current—Makes the palettes in the selected

palette group visible in the Tool Palettes window.
Export—Allows you to export a palette group to an
external .xpg file.
Export All—(right-click in an empty area) Allows
you to export all the palette groups to an external
.xpg file.
Import—Imports an external palette group file.
Palettes—Lists the palettes in the order in which Advanced Quad Menu Options
they appear on the Tool Palettes window.
Customize menu > Customize User Interface > Quads
panel > Advanced Options
There are several actions available when you
right-click any item in the Palettes window:
The Advanced Quad Menu Options dialog lets
Rename—Renames the selected palette. you customize the size and colors of your quad
menus. You can also customize other quad menu
New Palette—Creates a new blank palette and adds
behaviors such as repositioning, type font, and
it to the Tool Palettes window.
cursor behavior.
Delete—Deletes the selected palette from the Tool
Palettes window. Interface
Palette Groups—This window displays in a tree Save group
view the organization of your tool palettes. You
can create user-defined palette groups by dragging
palettes from the Palettes windows to a group. By
right-clicking on a group, you can export a palette Load—Lets you load a quad options (.qop) file.
group to an .xpg file as well as import an .xpg file
Save—Saves your settings to a .qop file.
into a palette group.
Save as Startup—Saves your current settings as the
These are the available options when you
right-click any item in the Palette Groups window startup settings.
except for those noted those where right-clicking Reset to Startup—Resets options to default settings
in an empty space makes an additional option (defaultui.qop).
available:
New Group—Creates a new group.
Advanced Quad Menu Options 523
Colors group Display group
Uniform Quad Width—When turned on, all

displayed quadrants will be the same width. The
width is determined by the widest quadrant.
Mirror Quads—When turned on, text in the quad
menus is justified to the inside edge of the menu;
the text in the right quadrants is left-justified, and
text in the left-quadrants is right-justified.
The colors group allows you to customize the
When turned off, all text in the quad menu is
colors of your quad menus.
left-justified.
Starting Quadrant—Lets you select which quadrant
Vertical Margins—Sets the vertical spacing between
your cursor starts in when you open the quad
commands in the quad menu.
menu.
Opacity Amount—Sets the opacity of the quad
Color list—The customizable elements of the quad
menu.
menu are listed and separated by quadrant. Click
the color swatch to open a color selection dialog. Opacity is not available in systems running on
Windows NT.
If the colors for a quad menu element are locked
(indicated by a pressed “L” button), each of the
Positioning group
separate quadrants will share the same color;
when you change the color in one quadrant, it will
change all of the quadrants’ colors.
You can customize each quadrant separately by
turning off the lock button for the selected quad
menu element.
Reposition Quad When Off Screen—Automatically

repositions the quad menu when you open it with
part of the menu off the edge of the screen. The
menu is moved so that the entire menu is displayed
on the screen.
Move Cursor When Repositioned—Moves your • Stretch—Quad menus open by expanding one
cursor to the new location of the quad menu when quadrant at a time, in a clockwise manner.
it is repositioned. They close similarly; contracting one quadrant
at a time, in a counterclockwise manner.
When this is turned off, you must hold down the
mouse button when you right-click to display the • Fade—Quad menus open by fading in from
quad menu. Once you move the cursor over the transparent to opaque, and close by fading out
menu, you can release the mouse button. from opaque to transparent.
Return Cursor After Repositioned—After you have Steps—The number of frames used to complete
selected an action from the quad menu, the cursor the animated display of the quad menu.
is returned to the location on the screen where the As this value becomes larger, the transition (small
original right-click was made. to large, transparent to opaque, etc.) becomes
more gradual.
Fonts group
Pause—The time between frames during the
animated display of the quad menu.
As this value becomes larger, the animated display
of the quad menu slows down.
Edit Button Appearance Dialog

Right-click any button on a custom toolbar. > Edit Button
Appearance
Title Font—Sets the font of the quadrant titles.
Size—Sets the font size of the quadrant titles. Use this dialog to change the appearance of the
Menu Font—Sets the font of the text inside the
selected button. You can substitute a different icon
quadrants. for the button, or change to a text button instead.
You can also customize the tooltip.
Size—Sets the font size of the text inside the
quadrants. Custom Icons
Animation group To make a custom icons, you need a series of four

files, each beginning with the same prefix which
designates the icon group. You can create these
images in any paint program.
• A 24x24 image for use when large icons are
displayed. Suffix: _24i.bmp.
Type—Sets the animation type for the quad menu

• A 24x24 grayscale image showing the
from the following options: transparency of the 24x24 image, with black
pixels indicating see-through areas where the
• None—Quad menus display immediately upon gray button background will show through.
right-clicking. Suffix: _24a.bmp.
Saving and Loading Custom User Interfaces 525
• A 16x15 image for use when small icons are Group—Displays a list of button categories.
displayed. Suffix: _16i.bmp. The groups of icons change with each category
• A 16x15 grayscale image showing transparency selection.
of the 16x16 image. Suffix: _16a.bmp Odd Only—Certain icon sets, like Internal, Classic,
Each file can contain more than one icon, but if Main toolbar and others, are designed in pairs that
so, the icons must be arranged in series one after show what the tool looks like when the button
the other. For example, if you want three icons to is enabled, and what it looks like when disabled.
appear, the file that ends in _24i.bmp would be 72 When Odd Only is turned on, only the odd
pixels wide and 24 pixels high, and contain the numbered icons (enabled) are displayed, when
three icons in series with no space between them. Odd Only is turned off, all of the icons, enabled
and disabled, are displayed.
After you create the icon files, copy them to
the UI/icons folder and restart Autodesk VIZ.
This will enable the software to find and display
the group when you access the Edit Button
Appearance dialog. Saving and Loading Custom
Tip: Look at some of the existing .bmp files in the
User Interfaces
UI/icons folder as a guide to arranging custom
icons in your .bmp files. You can customize your workspace by saving and
loading custom user interface (UI) schemes.
Interface A custom UI scheme is saved as a set of six files:
• .cui: Stores toolbar, tool palette and panel
layouts.
• .clr: Stores all color settings (except quad
menu colors).
• .mnu: Stores menu bar and quad menu
contents.
Tooltip—You can add your own tooltips to the • .qop: Stores quad menu colors, layout, and
buttons. This is the tooltip that displays when the behavior.
mouse is over the tool button. You can edit this to • .kbd: Stores keyboard shortcut assignments.
describe the tool. • .ui: Stores the icon scheme (Classic or 2D Black
Text Button—Lets you assign text to the button. and White).
You can enter whatever text you like for the button. You can load and save each of these files
Image Button—Lets you assign an image (icon) to individually from their respective panels in the
the button. You can use any predefined icon that Customize User Interface dialog (page 3–511).
you want by selecting it from the display on the You can also load an entire set of UI scheme files
right. at once with the Load Custom UI Scheme dialog
(page 3–527), and you can save the current UI
scheme as a complete set with the Save Custom UI
Scheme dialog (page 3–527).
By default, two sets of UI schemes are present 2. From the Load UI File dialog that displays,
in the autodesk viz 2007/ui folder: vizstart and choose defaultui.cui, and click Open.
defaultUI. Upon startup, Autodesk VIZ uses the All the default UI files begin with the base
vizstart file series if it exists; if not, it uses the file name defaultui. When you choose
defaultui series. defaultui.cui, all default UI scheme files will
You cannot load 3ds Max UI files in Autodesk VIZ. load.
Warning: Do not save over any files that begin with To start the software with a custom user interface:
defaultUI, as doing so will permanently overwrite the
1. Arrange the user interface as you would like it
default UI scheme.
to appear when you start Autodesk VIZ.
Procedures 2. Choose Customize menu > Save Custom UI
To load a custom UI scheme: Scheme, and save your custom UI scheme with
the base file name vizstart.
1. Set up the custom UI scheme within
Autodesk VIZ using the options on the The next time you start Autodesk VIZ, the
Customize menu > Customize User Interface software will start with the current UI scheme.
dialog (page 3–511). Note: If the Save UI Configuration On Exit
2. Save the custom UI scheme with Customize option on the Customize menu > Preferences >
menu > Save Custom UI Scheme. General tab (page 3–537) is turned on (which
it is by default), the state of the user interface
3. During your current Autodesk VIZ session or
when you close the program will overwrite the
any later session, choose Customize menu > vizstart UI scheme files.
Load Custom UI Scheme.
4. In the Load Custom UI Scheme dialog, select a To start the software with a custom user interface
type of customization file (.cui, .mnu, .clr, .kbd, from the command line:
.qmo, or .ui) from the Files of Type drop-down 1. Save your custom UI scheme with a descriptive
list. base file name with the Save Custom UI Scheme
5. Choose any file with the appropriate extension. dialog (page 3–527).
The software will search for (and load) any 2. Right-click the Autodesk VIZ icon on the
other type of UI scheme file with the same base Windows desktop, and choose Properties.
file name.
3. In the Target field, change 3dsviz.exe to
If you choose a UI scheme for which one of 3dsviz.exe -c, followed by the name of your
the six file types is not present, the part of the .cui file.
user interface for which there is no file will not
Example: 3dsviz.exe -c myfile.cui. Be sure to
be changed.
leave a space both before and after the -c.
To return to the default UI scheme: If you want to move the UI scheme to a different
If you start Autodesk VIZ and its user interface has computer, copy all the files in the autodesk viz
an unfamiliar layout, you can always return to the 2007\ui folder that start with the custom UI
default UI scheme. scheme base name to the new autodesk viz 2007\ui
folder. Alternately, you can add the path name to
1. Choose Customize > Load Custom UI Scheme.
the command line.
Load Custom UI Scheme 527
To save a single UI scheme file: Interface

1. Choose Customize menu > Customize User Tip: You can resize the dialog by dragging an edge
Interface (page 3–511). or a corner.
2. Access the panel for the type of user interface
item you want to save.
3. On the panel, click Save.
To change the icon display from Classic to 2D Black

and White:
1. Choose Customize menu > Save Custom UI
Scheme, enter a filename, and click Save.
2. On the Custom Scheme dialog, next to Icon
Type, choose the type of icon you want to
Use the Look In field to navigate to other
display.
directories. Click the folder to choose it. The files
3. Click OK to close the dialog and save the display in the window. Display or hide the details
scheme. using List or Details buttons. If Details is turned
4. Choose Customize menu > Load Custom UI on, you can sort by clicking the column labels in
Scheme and then open the UI scheme you just the window.
saved.
Use the Files of type drop-down menu to search
for other types of customization files. The default
is .cui, but you can also search for .clr, .mnu, .kbd,
Load Custom UI Scheme .qop, and .ui files. When you choose a filename,
Customize menu > Load Custom UI Scheme all files with that base file name will be loaded.
On the Load Custom UI Scheme dialog, you

specify the base file name of the custom UI scheme Save Custom UI Scheme
you want to load. You can select any type of UI
Customize menu > Save Custom UI Scheme
scheme file from the dialog, and the software will
load any other type of UI scheme files with the
This standard Windows file save dialog lets you
same base file name.
save your customized UI scheme.
To save a custom UI scheme, use the Save Custom
UI Scheme dialog (page 3–527).
You cannot load 3ds Max UI files in Autodesk VIZ.
For more information on saving and loading
custom user interfaces, see Saving and Loading
Custom User Interfaces (page 3–525).
You can also load a custom UI scheme with the
Custom UI and Defaults Switcher (page 3–509).
For more information on saving and loading

custom user interfaces, see Saving and Loading
Custom User Interfaces (page 3–525).
Interface
After you enter a file name and click Save, the
Custom Scheme dialog opens, letting you define
which parts of the UI scheme will be saved.
This dialog works differently from other dialogs

that save files. In this dialog, after you enter a
base file name and click Save, the Custom Scheme
dialog appears. On the Custom Scheme dialog,
you set the types of user interface schemes to
save. A file is saved for each type of scheme you
select, each with a specific extension for that type
of scheme. When you load any one of the custom
UI scheme files with the Load Custom UI Scheme
dialog (page 3–527), the entire set of files with the Tip: You can resize the dialog by dragging an edge
same base file name will be loaded. or a corner.
On the Save Custom UI Scheme dialog, the base Interface Layout (.cui)—When on, saves the current
name of the current UI scheme is filled in by toolbar and panel layout to a .cui file with the UI
default. You can enter the name of the base file Scheme base file name.
name in the File Name field, or click in the list to
Keyboard Shortcuts (.kbd)—When on, saves the
choose an existing base file name. You can click a
current keyboard shortcuts to a .kbd file with the
file with any UI scheme extension to save to the
UI Scheme base file name.
base file name from that file.
Menus (.mnu)—When on, saves the menu layout to
If you want the current UI to load automatically
a .mnu file with the UI Scheme base file name.
every time you load Autodesk VIZ, you can save
to the base file name vizstart. Alternately, you can Quad Options (.qop)—When on, saves the quad
turn on the Save UI Configuration On Exit option menus to a .qop file with the UI Scheme base file
on the Customize menu > Preferences > General name.
tab (page 3–537). This will cause the UI scheme Colors (.clr)—When on, saves the current color
that is current at the time you close Autodesk VIZ definitions to a .clr file with the UI Scheme base
to be saved to the base file name vizstart. This file name.
option is on by default.
Icon Type—Selects the icon scheme for all toolbars,
Warning: Do not save over the base file name defaultUI,
and saves this information in a file with the
as doing so will permanently overwrite the default UI
extension .ui after the UI Scheme base file name.
scheme files.
Revert to Startup Layout 529
Note: The icon scheme you choose will be saved

as part of the file set, regardless of whether the Configure Paths
chosen icon scheme matches the current scheme
displayed on your screen. Customize menu > Configure User Paths
All—Turns on all of the above controls. Customize menu > Configure System Paths
None—Turns off all of the above controls.

Configure Paths functionality is available in two
OK—Closes the dialog, and saves all of the selected dialogs:
UI Scheme files. • Paths that you use to specify locations for
Cancel—Closes the dialog without saving any UI bitmaps, scenes, etc. are found on the
Scheme files. Configure User Paths dialog (page 3–529). In
addition, the latter dialog now lets you save,
load, and merge path-configuration files, which
Revert to Startup Layout makes it easier for content-creation teams to set
up the same folders for all team members to use.
Customize menu > Revert to Startup Layout
• Paths used by Autodesk VIZ for purposes such
as loading fonts and defaults are accessible
Revert to Startup layout automatically loads
on the Configure System Paths dialog (page
_startup.ui, which returns the user interface to
its startup settings. This temporary system file is
3–531).
created automatically when you start the program.
Use this option to return the UI to startup settings.
See also
Asset Tracking dialog > Paths menu (page 3–105)
See Load Custom UI Scheme (page 3–527) for
information on how to load different UI schemes
on startup.
Configure User Paths
If you have Save UI Configuration On Exit
Customize menu > Configure User Paths
turned on in the General panel (page 3–537)
of the Preferences dialog, the current UI file is
overwritten when you exit the program. Autodesk VIZ uses stored paths to locate different
kinds of user files, including scenes, images, DX9
Procedure effects (FX), photometric, and MAXScript files.
You use the Configure User Paths command
To revert to the startup UI:
to display the Configure User Paths dialog and
• Choose Customize > Revert To Startup UI customize these paths. This command is useful
Layout. UI elements are rearranged to look as when you add new folders to help you organize
they did when you started the program. your scenes, images, plug-ins, backups, and so on.
You can save, load, and merge the paths
that the Configure User Paths dialog manages
in MXP (max path) files. This makes it easy for
all members of content-creation teams to keep
projects organized and work efficiently by using This description subsequently appears in the
the same paths. path list.
4. If you want to include subdirectories in this
See also path, turn on Add Subpaths.
Configure System Paths (page 3–531) 5. Click Use Path.
The new path takes effect immediately.
Procedures
In general, these procedures are common to all To delete a path:
panels on the Configure User Paths dialog. When This procedure is not available on the File I/O
you change a setting, it’s written to the 3dsviz.ini panel. In addition, it’s not available on the 3rd
file, and is effective immediately. Party Plug-ins panel if only one plug-ins path
exists. In other words, you can’t delete the last
To modify a path:
plug-ins path.
1. Click a path entry to highlight it.
1. On the External Files panel, choose a path entry.
2. Click Modify.
2. Click Delete.
3. Use the Choose Directory dialog to do one of
The path location is removed.
the following:
3. If you want to restore the path, click Cancel.
• Enter a path in the Path field.
This closes the Configure User Paths dialog
• Navigate to locate a path.
without saving any path changes.
4. Optional step (3rd Party Plug-Ins panel only):
Edit the description of the path in the Label To share User paths with team members:
field. 1. Use the Configure User Paths dialog to set up
This description subsequently appears in the all necessary user paths.
path list. 2. Click the Save As button and then use the
5. Click Use Path. Save Paths To File dialog to save the path
The new path takes effect immediately. configuration as an .mxp file.
3. Make the path configuration file available to
To add a path: other team members.
This procedure is not available on the File I/O 4. Each team member then opens the Configure
panel. User Paths dialog and uses Load or Merge to
1. Click Add. open the path configuration file.
2. On the dialog that opens, do one of the The new path configuration is now the same on
following: each team member’s machine.
• Enter a path in the Path field. Note: Using Load eliminates the existing
path configuration; using Merge overwrites
only paths that exist in both the current
3. Optional step (3rd Party Plug-Ins panel only): configuration and the new one.
Edit the description of the path in the Label
field.
Configure System Paths 531
Interface that exist only in the new file and replaces any
existing paths.
For example, if your File I/O panel > Scenes path
is set to c:\3dsmax8\scenes and you merge a path
configuration file in which the Scenes path is set
to the UNC path \\scene_server\max\scenes, the
former path is replaced by the latter one.
OK—Exits the dialog and saves any changes.
Cancel—Exits the dialog without saving changes.
Configure System Paths

The Configure User Paths dialog comprises four
Customize menu > Configure System Paths
panels:
• External Files (page 3–532) The Autodesk VIZ system uses paths to locate
• File I/O (page 3–533) different kinds of files, including defaults,
fonts, and startup MAXScript files. You use the
• XRefs (page 3–534)
Configure System Paths command to open the
• 3rd Party Plug-Ins (page 3–535) Configure System Paths dialog and customize
In addition, the dialog provides command buttons these paths.
on the right side and across the bottom: Autodesk VIZ saves the paths that the Configure
Modify—Lets you change the highlighted path. System Paths command manages in the 3dsmax.ini
file.
Delete—Lets you delete the highlighted path.
Add—Lets you add a new path. Not available on See also

the File I/O panel. Configure User Paths (page 3–529)
Move Up/Down—Lets you change the highlighted
path’s position in the list to alter its search priority. Procedure
Available only on the External Files and XRefs To modify a path:
panels. 1. Click a path entry to highlight it.
Save as—Lets you save the path configuration 2. Click Modify.
as an MXP file for sharing with team members.
3. Use the Choose Directory dialog to do one of
Load—Loads a path configuration from an the following:
MXP file. The loaded configuration completely • Enter a path in the Path field.
replaces the existing one.
Merge—Merges a path configuration from an
4. Click Use Path.
MXP file. The merged configuration adds paths
Interface form of catalogs and tool palettes. Photometric

files are used to define various characteristics of
The dialog specifies paths for the standard support
files. You can specify one path for each of the
Photometric lights (page 2–941).
following file types: Autodesk VIZ stores the path of any file you load.
When the file is reloaded, the search order is as
File Type Function
follows:
Defaults Path for market-specific
defaults 1. The path saved with the file.
Fonts Path for font files 2. The directory of the current scene.
Heidi Drivers Path for display drivers for 3. The paths listed in the External Files panel,
the software starting at the top of the list.
Help Path for online help files
Note: To save loading time, if a map with the
PlugCFG Path for plug-in same name is in two different locations (paths),
configuration files
it is loaded only once. This poses a problem
Standard MAX plug-ins Path for plug-ins included only if your scene includes two different maps
with Autodesk VIZ
with the same name. In this case, only the first
Startup Scripts Path for MAXScript scripts map encountered will appear in the scene.
automatically loaded when
Autodesk VIZ first runs
Changing Font Paths

If you change your font paths, you will need to
restart Autodesk VIZ before the change can occur.
Since fonts are loaded only at first use, changing
the font path later in the program has no effect, if
the font manager has been used by the program.
External Path Configuration

Customize menu > Configure User Paths > Configure User For descriptions of the general dialog controls, see
Paths dialog > External Files panel
Configure User Paths (page 3–529).
On the External Files panel of the Configure Paths
dialog, you can add or modify path directories
Procedures
for bitmaps (page 3–660), catalogs and tools To modify a file path:
stored in the Content Browser (page 3–124), and 1. On the External Files panel, choose a path entry.
downloads; that is, files transferred from the
2. Click Modify.
Internet via i-drop (page 3–134). Bitmaps are used
for background images and mapped materials 3. In the Choose Directory dialog, do one of the
(page 3–697) (textures, bump maps, displacement following:
maps, and so on). The Content Browser is a • Enter a path in the Path field.
central storage area for project-based files in the
File I/O Path Configuration 533

4. Click Use Path.
File I/O Path Configuration
The new path takes effect immediately. Customize menu > Configure User Paths > Configure User
Paths dialog > File I/O panel
To add a file’s path:

The File I/O panel of the Configure User Paths
1. On the External Files panel, click Add. dialog contains most of the file directories in
2. On the Choose New Bitmap Path dialog, do which users store files.
one of the following:
For descriptions of the general dialog controls, see
• Enter a path in the Path field. Configure User Paths (page 3–529).
Procedure
3. If you want to include subdirectories in this
path, turn on Add Subpaths. To modify a file path:
4. Click Use Path. 1. On the Configure User Paths dialog, click File
I/O, and then choose a path entry.
2. Click Modify.
To delete a file’s path: 3. In the Choose Directory dialog, do one of the
1. On the External Files panel, choose a path entry. following:
2. Click Delete. • Enter a path in the Path field.
The path location is removed. • Navigate to locate a path.
3. Click Cancel to restore the path. 4. Optional step: Enter a description of the path
in the Label field.
This closes the Configure Path dialog without
saving any path changes. This description subsequently appears in the
path list.
To move a path up or down in the list:
5. Click Use Path.
1. On the External Files panel, choose a path entry.
• Click Move Up to move the entry closer to
the top of the list, giving it a higher priority
in the search process.
• Click Move Down to move the entry closer
to the bottom of the list, giving it a lower
priority in the search process.
Interface Sounds—Loads sound files.
UserScripts—Loads and saves user-created

MAXScripts.
VIZStart—Loads vizstart.max, which provides
initial Autodesk VIZ scene settings.
XRefs Path Configuration

Customize menu > Configure User Paths > Configure User
Paths dialog > XRefs panel
On the XRefs panel of the Configure User Paths

dialog, you can add to or modify the directory
Animations—Path for animation (ANM) files.
locations Autodesk VIZ searches for XRef objects
Archives—Path for archive files. and XRef scenes.
AutoBackup—Sets the default path for automatic You expand the default locations of XRef files by
backup files. If you use the Auto Backup feature adding paths to this panel. Use this technique to
(page 3–548), use either the \autoback directory, identify the directories most often used in your
which is specific to each running version of the scenes.
software, or a directory that’s not shared by any
Autodesk VIZ stores the path of any XRef file you
other machine.
load. When the XRef is re-loaded, the search order
Export—Path for exported files. is as follows:
Images—Path for image files. 1. The path saved with the XRef file.
Import—Path for imported files. 2. The directory of the current scene.
Materials—Path for material library (MAT) files.

3. The paths listed in the Configure Paths dialog >
XRefs panel, starting at the top of the list.
Photometric—Path for photometric files, which
define various characteristics of Photometric lights For descriptions of the general dialog controls, see
(page 2–941) Configure User Paths (page 3–529).
Previews—Path for preview renders. Procedures

RenderAssets—Path for mental ray and other To modify an XRef file path:
rendering asset files, including shadow maps, 1. On the XRefs panel, choose a path entry.
photon maps, final gather maps, MI files, and
2. Click Modify.
render passes.
3. On the Choose Directory dialog, do one of the
RenderOutput—Path for rendered output.
following:
RenderPresets—Path for Render Preset files. • Enter a path in the Path field.
Scenes—Path for MAX scene files. • Navigate to locate a path, and click Use Path.
3rd Party Plug-Ins Path Configuration 535
To add an XRef path: directories and use this panel to add the paths of
1. On the XRefs panel, click Add. those directories. Changing the list order specifies
the search order. Put the most frequently used
plug-ins at the top.
following:
Path information is stored in the plugin.ini file.
Note: To change the path for standard plug-ins
included with Autodesk VIZ, use the Configure
3. If you want to include subdirectories in this System Paths (page 3–531) function.
path, turn on Add Subpaths.
For descriptions of the general dialog controls, see
4. Click Use Path.
Configure User Paths (page 3–529).
Procedures
To delete an XRef path:
To modify a plug-in path:
1. On the XRefs panel, choose a path entry.
1. On the 3rd Party Plug-Ins panel, choose a path
2. Click Delete. entry.
The path location is removed. 2. Click Modify.
3. Click Cancel to restore the path. 3. On the Choose Directory dialog, do one of the
This closes the Configure Path dialog without following:
saving any path changes. • Enter a path in the Path field.
To move a path up or down in the list:

4. Click Use Path.
1. On the XRefs panel, choose a path entry.
• Click Move Up to move the entry closer to To add a plug-in path:

the top of the list.
1. On the 3rd Party Plug-Ins panel, click Add.
• Click Move Down to move the entry closer
to the bottom of the list.
following:
3rd Party Plug-Ins Path • Navigate to locate a path.
Configuration 3. Type a description in the Label field.
Customize menu > Configure User Paths > Configure User 4. If you want to include subdirectories in this
Paths dialog > 3rd Party Plug-Ins panel
path, turn on Add Subpaths.
On the 3rd Party Plug-Ins panel of the Configure 5. Click Use Path.
User Paths dialog, you can add or modify the The new path takes effect immediately.
directory paths of plug-ins (page 3–716) supplied
by third parties and independent software
developers. You can also store plug-ins in separate
To delete a path: You can add as many remote INI files as you
1. On the 3rd Party Plug-Ins panel, choose a path need, making it easy to organize groups of
entry. plug-ins.
2. Click Delete.
The path location is removed.
Preferences
Network Plug-In Configuration
Customize menu > Preferences
You can include path annotations to additional
INI files within the local plugin.ini and the Autodesk VIZ offers many options for its display
software will process the files as if they were and operation. These options are available on the
part of the original plugin.ini. This can be very Preference Settings dialog in a series of tabbed
helpful in settings where several systems on a panels.
network are using the same plug-ins. The network
administrator need only maintain a single remote
INI file, rather than having to update each machine
individually.
Procedure
Example: To add remote INI files to your local
plugin.ini :
1. Open your local copy of plugin.ini with your
preferred text editor.
2. At the bottom of the file, type [Include] and
press ENTER.
3. Below [Include], type these two lines:
myremote=\\remote_dir\remote_plugin.ini
anotherdir=d:\test\extra_plugin.ini
Note: You can give any title to the directory The Preference Settings dialog contains the
(myremote or anotherdir, in this case) and the following panels:
directory can be any local or remote directory. General Preferences (page 3–537)
In addition, the INI file can have any name.
File Preferences (page 3–548)
4. Save plugin.ini and exit the text editor.
The next time you start the software, it will Viewport Preferences (page 3–551)
load plug-ins from the directories defined in Gamma Preferences (page 3–550)
plugin.ini, as well as those in any remote INI
file that has been included in plugin.ini.
Rendering Preferences (page 3–540)
Animation Preferences (page 3–546)
General Preferences 537
Inverse Kinematics Preferences (page 3–542) 2. Change the value of Scene Undo Levels.
Gizmos Preferences (page 3–554) The higher the value of Undo Levels, the more
system resources are required. The default
MAXScript Preferences (page 3–556) value is 20.
Radiosity Preferences (page 3–543)
Interface
GCS Preferences (page 3–544)
mental ray Preferences (page 3–545)
General Preferences
Customize menu > Preferences > Preferences dialog >
General tab
On the General panel of the Preference Settings

dialog, you set options for the user interface and
for interactivity.
Interface (page 3–537)
Procedures
To set and toggle spinner snap:
Scene Undo group
Levels—Sets the number of operations you can
• Choose Customize menu > Preferences > undo. You can see the operation that will be
Preference Settings dialog > General tab. undone by looking at Undo on the Edit menu.
• Right-click the Spinner Snap button Reference Coordinate System group

on the main toolbar. Constant—Sets one coordinate system and
Either method brings up the General tab. transform center for Move, Rotate, and Scale on
The two controls for spinner snap are in the the Main toolbar. The coordinate system displayed
Spinners area of this panel. in the coordinate dropdown list (page 1–364), and
the transform center selected from the Use Center
2. Enter a value in the Spinner Snap field.
flyout (page 1–366), are used for all transforms.
3. Turn on Use Spinner Snap.
Normally, each transform switches to the
When you exit the dialog, Spinner Snap is on. coordinate system and transform center used the
4. As you work, use the Spinner Snap button to last time the transform was active.
toggle the use of this setting.
UI Display group
To set the Undo level:
Enable Viewport Tooltips—Displays a tooltip when
1. Choose Customize menu > Preferences > the cursor pauses over a non-selected object in
Preference Settings dialog > General panel.
the viewports if you are not in sub-object mode. Use Large Toolbar Buttons—Toggles between large
Tooltips show the names of objects. and small toolbar buttons.
AutoPlay Preview File—Starts the Media Player Horizontal Text in Vertical Toolbar—Ensures text
automatically at the end of a Make Preview (page buttons are displayed horizontally.
2–1451).
If you create a custom toolbar positioned vertically,
Display Cross Hair Cursor—Displays the mouse and you’re using text rather than image buttons,
cursor as full-viewport cross hairs, vertical and you can choose to display either horizontal or
horizontal lines extending the full extent of the vertical text with this option.
active viewport.
Fixed Width Text Button—Specifies the maximum
Each movement of the mouse is redrawn, so the width of text buttons.
cross hairs are relatively slow. If you want to create
You must turn on the Horizontal Text in Vertical
a keyboard shortcut, find Cross Hair Cursor toggle
Toolbar option, turn this option on, and then set a
in Customize menu > Customize User Interface
maximum display size for the text button in pixels.
> Keyboard panel and specify the keys to use for
For custom vertical toolbars with text buttons, this
the shortcut. If you want to change the color of the
option will limit the size of the text display.
cross-hairs cursor, Customize menu > Customize
User Interface > Colors panel > Viewports > Cross Flyout Time—Sets the pause, in milliseconds,
Hair Cursor and use the color selector to change between the mouse click and the flyout popping
the cursor color. up from the button. Increase this setting only if
you need an extra-long delay. Don’t decrease the
Display Topology Dependence Warning—Turns of
setting much or you may not be able to execute
the topology dependence warning. A warning is
button commands before the flyout takes over.
displayed if an object has modifiers and sub-object
selections, and you choose to edit a modifier or Color Selector—Choose the default color selector
the base object at the bottom of the modifier stack, (page 1–132), or a third-party plug-in color
which can adversely affect the object’s topology. selector in the list. The color selector you choose
You can also turn off the warning in the warning here is used throughout Autodesk VIZ whenever
dialog. Default=on. you specify a color.
Display Stack Collapse Warning—Turns off the
Plug-In Loading group
stack collapse warning. A warning is displayed if
an object has modifiers and sub-object selections, Load Plug-Ins When Used—When turned on, loads
and you choose to delete a modifier, which can plug-ins on demand, when they are needed.
adversely affect the object’s topology. You can
also turn off the warning in the warning dialog. Sub-Materials group
Default=on. Assign Automatically—Enables the automatic
Save UI Configuration on Exit—Restores panels and

creation of a Multi/Sub-Object material when you
toolbars to the positions they were in the last time assign a material to a selection of face sub-objects
you used the software. Turn this off to restore in an editable object. Default=on.
panels to the state they were in prior to turning When on, the assigned material becomes part
on this option. of the new Multi/Sub-Object material, and is
General Preferences 539
assigned to the face selection. When off, the Snap—Sets the click increment and decrement
assigned material is assigned to the entire object. values for all of the spinners in Autodesk VIZ.
Note: If the face selection comprises faces with Use Snap—Toggles spinner snap on and off.
different material IDs, assigned a material to the
Wrap Cursor Near Spinner—Limits cursor wrapping
selection with Assign Automatically turned on
results in the software assigning the first unused to an area close to the spinner when you drag to
material ID to all selected faces, thus changing adjust spinner value.
their IDs.
Command Panel group
See also Drag and Drop Sub-Object Material
Rollout Threshold—Determines the number of
Assignment (page 2–1055).
pixels in a rollout that should be scrollable in the
command panel before the rollout is shifted into a
Scene Selection group
separate command panel column.
Auto Window/Crossing by Direction—When this is
enabled, the direction that you drag a selection This option is applicable only when the command
area determines whether it is a window or crossing panel displays multiple columns.
selection (page 1–84). This works for any selection
Layer Defaults group
area (rectangle, circle, fence, or lasso).
Default to By Layer for New Nodes—When on, all
You can select which direction causes a window
new objects will have their rendering, motion blur,
selection and which causes a crossing selection
display, and advanced lighting properties set to By
in the Scene Selection group. When you drag a
Layer (page 3–663).
window selection, the selection region is displayed
with a solid line, however when you drag a crossing New Lights Renderable By Layer—When on, the
selection, the selection region is displayed with Renderable setting (found on the Object Properties
dashed lines. dialog (page 1–108)) of new lights is determined
by the setting of the layer they are created on.
Right-> Left => Crossing—When you drag a
selection region from right to left, it is a crossing Propagate Unhide/Unfreeze Commands to
selection. Conversely, when you drag left to right, Layers?—When a layer is hidden or frozen, and
it is a window selection. you unhide or unfreeze an object in that layer, this
choice determines whether the command affects
Left-> Right => Crossing—When you drag a
the object or its layer.
selection region from left to right, it is a crossing
selection. Conversely, when you drag right to left, • Propagate—Unhiding or unfreezing an object
it is a window selection. in a layer unhides or unfreezes the layer.
Paint Selection Brush Size—Sets the size of the

• Do Not Propagate—Unhiding or unfreezing an
brush used by Paint Selection Region (page 1–79). object in a hidden or frozen layer affects only
the object.
Spinners group • Ask—When this option is active and you
Precision—Sets the number of decimal places
unhide or unfreeze objects, a dialog appears
displayed in a spinner’s edit field. Range=0 to 10 asking if you want to apply the operation to
(where 0 is no decimal places). the associated layers. If you do, the associated
layers are unhidden or unfrozen. Otherwise
the operation is applied only to the specified Interface

objects.
Vertex Normal Style group

Use Legacy R4 Vertex Normals—By default,
Autodesk VIZ uses a new, more accurate method
for computing vertex normals from smoothing
groups, which improves the way geometry displays
in viewports and in rendered output. To use the
method from older versions of the software, for
compatibility, turn on this check box.
Texture Coordinates group

Use Real-World Texture Coordinates—Controls
whether real-world texture coordinates are active
or if the legacy method of applying texture Video Color Check group
coordinates is in use. When off, texture-coordinate Some pixel colors are beyond the safe NTSC (page
behavior reverts to the legacy method and texture 3–705) or PAL (page 3–711) threshold. You can
tile values have a default value of 1, and Real-World choose to flag or modify them to acceptable values.
Map Size for primitives is off. Default=on.
Flag with Black—Flags all illegal pixels with black to
When Use Real-World Texture Coordinates is on, show you the illegality of your image. This mode
the Use Real-World Scale and Real-World Map teaches you how to make correct colors, instead of
Size options are also on. Use Real-World Scale is depending on Scale options. Scale options force a
present in the Material Editor, on the Coordinates natural discontinuity in the color values. In some
rollout for 2D maps, and Real-World Map Size cases, that discontinuity can cause visible aliasing
is available for objects such as primitives and (page 3–653).
modifiers such as UVW Map.
Scale Luma—Scales the luminance to bring the
color into range, and maintains saturation. This
Rendering Preferences generally makes the illegal areas appear darker
than they should be.
Customize menu > Preferences > Preference Settings
dialog > Rendering tab Scale Saturation—Scales the chroma to bring
the color into range, and maintains saturation.
On the Rendering panel of the Preference Settings Because this option keeps the brightness levels of
dialog, you set options for rendering, such as the pixels fairly equal to the unscaled ones, this is
the default color of ambient light in rendered the more useful of the two scale methods.
scenes. The many choices available enable you to
NTSC/PAL—Determines the standard for the video
reassign the renderers used for production and
color check. See NTSC (Glossary) (page 3–705)
draft rendering.
and PAL (Glossary) (page 3–711).
Rendering Preferences 541
Output Dithering group development, or require special compositing

techniques because the background will not be
Sets output dithering (page 3–669) for all file
rendered. In these cases, turning on this option
types.
helps avoid generating alpha antialiasing on the
True Color—Turns dithering on or off for any true outlines of the geometry. Default=off.
color output device. For 24-bit work, you should
Note: You must be rendering against a black
turn True Color on. For paletted work, you can
background if Don’t Antialias Against Background
turn it off.
is turned on.
Paletted—Turns dithering on or off for any 8-bit
Filter Background—Controls whether or not a
paletted device.
background image is affected by the Renderer’s
antialiasing Filter. See Plate Match /MAX R2.5/VIZ
Field Order group
R2 Filter Types in Default Scanline Renderer
Odd/Even—Selects the field order of rendered Rollout (page 2–1343) for detailed information of
images when the Render to Fields option is filtering background and antialiasing.
turned on in the render dialog. Some video
Use Environment Alpha—Controls whether or not
devices require that the even field be first, other
the renderer uses the environment map’s alpha
video devices require that the odd field be first.
channel in created the alpha for the rendered
Determine the correct field order for your video
image. If Use Environment Alpha is turned off,
device. If the video output of your device is
the background is completely transparent. If it
strobing or appears jittery, it may be due to
is turned on, the alpha of the resulting image is
incorrect field (page 3–675) order, try changing
a combination of the scene and image’s alpha.
this parameter and re-rendering your animation.
Super Black group channels or black backgrounds are supported
when compositing in other programs such as
Threshold—Keeps the super black (page 3–736) Photoshop.
threshold above a certain level primarily for
luminance keying. Default Ambient Light Color group
HotSpot/Falloff group Click the color swatch to change the default

ambient light (page 3–655) color for renderings.
Angle Separation—Locks the spotlight hotspot This color will be the darkest color for rendered
(page 3–686) and falloff (page 3–686) cones at the shadows in the scene.
angle separation defined by the spinner (degrees).
This option constrains the hotspot angle so that it Output File Sequencing group
can’t equal the falloff and cause aliasing artifacts.
Nth Serial Numbering—Specifies whether output
Background group frame files generated using a frame-step value
other than 1 are numbered sequentially (on) or
Don’t Antialias Against Background—Ensures according to their true frame numbers (off).
that the edges of rendered geometry aren’t
antialiased against the background. The inside Render Termination Alert group
of the geometry is still antialiased. Keep this
Beep—Beeps when the rendering has finished. You
control off unless you’re creating sprites for game
can set the frequency and the duration.
Play Sound—Plays a sound file when the rendering On—When turned on, the software creates a series
has finished. of temporary “page” files on the drive where it is
installed for use in rendering bitmaps.
Choose Sound—Opens the Open Sound browser
dialog, select a sound file using the browser. You Page Size (kB)—Sets the size of the bitmap page. If
can test sound files with the Play button in the textures are smaller than the page size, the system
Open Sound dialog. Press ESC to turn off the allocates only the memory required.
sound.
Bitmap Size Threshold (kB)—Sets the minimum size
(in kilobytes) that a bitmap must be in order to
GBuffer Layers group
be paged.
Maximum Number—Limits the number of layers
Memory Pool (kB)—Controls the amount of
that are stored in the G-buffer during rendering.
Default=10; Range=1 to 1000. memory used by the pager. All pages remain in
memory until this limit is reached. When the limit
Memory requirements may dictate that you limit is reached, the pager begins saving pages to disk.
the number of G-buffer layers. The RLA and RLF Pages that are not frequently used are paged out;
image formats, used for compositing, can store more frequently used pages are kept in memory.
many G-buffers for object Z buffer information,
material ID, transparency and so on.
Inverse Kinematics Preferences
Multi-threading group
On—Causes the software to treat the rendering dialog > Inverse Kinematics tab
task as separate threads. This option works with
multiprocessor systems. Each processor in your On the Inverse Kinematics panel of the Preference
computer handles a different thread, which makes Settings dialog, you set options for both applied
full use of available processing power and speeds and interactive inverse kinematics (page 3–689).
up rendering to its maximum level. When off,
Autodesk VIZ treats a rendering task as a single Procedure
processing task and won’t divide it up. To prevent transforming unlinked objects while
working in IK mode:
Bitmap Pager group
1. Choose Customize menu > Preferences >
The Bitmap Pager can help with the rendering of Preference Settings dialog > Inverse Kinematics
scenes that have very large textures, a large number tab.
of textures, or when rendering a high-resolution
2. On the Inverse Kinematics panel, turn off the
image.
option labeled Always Transform Children Of
Tip: You can access a Bitmap Pager Statistics dialog The World.
(page 3–129) with useful pager information such
Single, unlinked objects are hierarchies of one
as memory usage: Go to Customize menu >
object. An unlinked object is its own root and
Customize User Interface, find the Bitmap Pager
also a child of the world, so turning off Always
Statistics item in the Main UI list, and then assign
Transform Children Of The World prevents you
it as a keyboard shortcut or other UI element.
from transforming single objects in IK mode.
Radiosity Preferences 543
Interface Ungrouped controls

Use Secondary Threshold—Compares the second
derivative of the end effector (page 3–671) to a
very small threshold. If the derivative is within the
threshold, IK is terminated.
Always Transform Children Of The World—Applies
when IK is turned on in both move and rotate
mode. It affects only an object that’s a direct child
of the world when the object is selected.
For example, if the root of an IK chain is a child
of the world, and you’re manipulating an object
at the end of the chain (the root object itself isn’t
Applied IK/Interactive IK group selected), any constraints set for the root object
will be observed. However, if you select the root
The threshold and iterations settings are a trade-off
object and try to move it, its constraints will be
between accuracy and speed. With the two groups
ignored.
of settings you can individually tune the behavior
of Interactive IK and Applied IK. Interactive IK
provides fast, real-time response, so you should
set Interactive IK preferences for speed. Applied
Radiosity Preferences
IK provides the IK solution (page 3–687) to match Customize menu > Preferences > Preference Settings
the follow objects (page 3–679) very closely. You dialog > Radiosity tab
should set applied IK preferences for accuracy.
On the Radiosity panel of the Preference Settings
Position—Sets how close the end effector has to dialog, you set options for the radiosity solution
get to the follow object or cursor position for the (page 2–1350).
object to be considered a valid solution. The value
represents a distance in the current display unit See also
system. Small values increase accuracy but take
longer to solve. Modeling Global Illumination with Radiosity
(page 2–1350)
Rotation—Sets how accurately the end effector has
to match the orientation of the follow object to be Radiosity Controls (page 2–1360)
considered a valid solution. The value represents
a rotation angle in degrees. Small values increase
accuracy but take longer to solve.
Iterations—Sets the maximum number of times
Autodesk VIZ repeats the IK calculations to find
a valid solution. A high iterations value increases
the chance that Autodesk VIZ can calculate a valid
IK solution, but the calculation takes longer to
complete.
Interface case, the Start button changes to read Update &

Start. When this is pressed, the radiosity solution
is reset and the calculation starts over again.
When this toggle is off, the radiosity solution does
not need to be reset if it is invalidated. You can
continue processing your scene with the invalid
solution.
Note: The radiosity solution is invalidated any time
an object or light is added, removed, moved, or
altered in any way.
File Save group

Save Scene Information in MAX file (Decreases Load
Time)—The light levels from the radiosity solution
are always saved with the file, however when this is
Material Editor group on, some additional radiosity information is saved
Display Reflectance & Transmittance with your scene.
Information—When on, reflectance and Note: Having this on decreases file load time, but
transmittance values (page 2–1060) are displayed increases the file size.
in the Material Editor.
Note: In order to make this change effective, you
need to close and restart the Material Editor. GCS Preferences
Customize menu > Preferences > Preferences Settings
Interactive Display group dialog > GCS panel
Display Radiosity in V iewports—When on, radiosity

effects are displayed in the viewports. On the GCS panel of the Preferences dialog, you
can set and define Global Coordinate Systems.
Radiosity Processing group
Automatically Process Refine Iterations Stored in
Geometric Objects—When on, all refine iterations
stored in geometric objects are automatically
processed.
Start/Reset Behavior
Display Reset Warning—When on, a warning
message is displayed whenever you reset the
radiosity solution in your scene.
Update Data When Required on Start—When
on, the radiosity engine must be reset and then
recalculated if the solution is invalidated. In this
mental ray Preferences 545
Interface system, Autodesk VIZ standardizes the data based

on the current scene’s global coordinate system
code (as set in the above options). When you
turn this option on, Autodesk VIZ performs a
transformation on the geometry to adjust it to the
current scene’s global coordinate system.
mental ray Preferences

Customize menu > Preferences > mental ray panel
Interface
Global Coordinate System group

If you’re working with data that uses a variety of
projections and origins, choose a global coordinate
system to be used as a standard for all maps and
project scenes. Use the following options to set the
default project scene global coordinate system.
You should only change this default after thorough
consideration and the change should apply to all
scenes in the same project.
General group
Use Coordinate System—Allows you to use a
coordinate system defined in the Select Global Enable mental ray Extensions—When on, enables
Coordinate System dialog (page 3–580) When certain features that provide additional support for
you turn this option on, the Change and Define the mental ray renderer. When off, these features
buttons become available. When you turn off do not appear in the interface. Default=on.
this option, Autodesk VIZ ignores any global These are the features enabled as mental ray
coordinate system in your data. extensions to Autodesk VIZ:
Change—Displays the Select Global Coordinate • mental ray Connection rollout (page 2–1090)
System dialog (page 3–580), where you can change for materials (Material Editor)
the coordinate system applied to your scene. • mental ray Light Shader rollout (page 2–974)
Define—Displays the Global Coordinate System (Modify panel for lights)
Manager dialog (page 3–574), where you can Warning: If you have assigned shaders and adjusted
create, edit, or delete a coordinate system. their settings using the mental ray Connection rollout,
Do Geometry Transformation—If you use data that turning off Enable mental ray Extensions will lose all
was created using a different global coordinate these assignments and settings. The same applies to
light shader assignments.
Rendering group is not found), only new messages are written to

the file. Default=off.
Show Brackets on Current Buckets—Displays white
selection brackets at the corners of the bucket • File—Click to display a file dialog that lets you
currently being rendered. Default=on. choose the name and location of the .log file.
Clear Frame Window Before Render—When on, • File name field—When you have specified a .log
before rendering the rendered frame window file, this field shows its name and its path.
(page 2–1318) turns to a gray shade by clearing
every other scanline. This makes it easier to see the
progress of rendering. On the other hand, it can Animation Preferences
make it harder to see the effect of small changes to Customize menu > Preferences > Preference Settings
the model or the view. Default=on. dialog > Animation tab
Messages group On the Animation panel of the Preference Settings

Open Message Window on Error—Whenever the
dialog, you set options relating to animation (page
mental ray renderer detects an error, it generates 3–655). Options include displaying animated
an error message. When this option is on, the objects in wireframe viewports, the assignment of
Messages Window is displayed and the error sound plug-ins, and controller defaults.
message appears in it. Default=on.
Procedures
Show/Log Information Messages—When on,
To change the default transform center:
displays informational messages in the Messages
Window. Default=off. 1. Choose Customize menu > Preferences >
Preference Settings dialog > Animation tab.
Show/Log Progress Messages—When on, displays
2. Turn off Local Center During Animate in the
progress messages in the Messages Window.
Animate group.
Default=off.
This changes the default and activates all the
Log Debug Messages (to file)—When on, writes
transform center buttons. You can now move
debug messages to the log file, if one has been
about the selection, coordinate center, or local
specified. Default=off.
pivot.
Debug messages are never displayed in the
Messages Window. The mental ray renderer To set the key bracket display:
generates a large number of them, which would 1. Choose Customize menu > Preferences >
make the window hard to read. Preference Settings dialog > Animation tab.
Write Messages to File—When on, generates a 2. Use the controls in the Key Bracket Display
mental ray log file (page 3–693). Default=off. group to specify how you want key brackets
displayed in wireframe viewports.
The other log file options are unavailable unless
you turn on Write Messages To File: To specify default controller settings:
• Append to File—When on, appends messages to 1. Choose Customize menu > Preferences >
the existing file. When off (or if the named file Preference Settings dialog > Animation tab.
Animation Preferences 547
2. Click Set Defaults in the Controller Defaults If you decide that you want to revert to
group. the original Autodesk VIZ defaults for all
The Set Controller Defaults dialog appears. controllers, you can click Restore To Factory
Settings.
Interface
3. Choose a controller type from the list of

available controllers and click the Set button.
A dialog containing the default settings
supported by the selected controller type
appears in, for example, the In and Out tangents
for a Bezier controller.
Key Bracket Display group
When you move to a frame, the software displays
white brackets around objects that have transform
keys (page 3–690) at that frame, including cameras
and lights. These key brackets only appear in
wireframe viewport displays.
All Objects/Selected Objects/None—Specifies which
objects will display key brackets.
Use Current Transform—Displays brackets only on
those frames containing a key for the transform
4. Make changes to the controller settings.
button (page 3–742) (Move, Rotate, or Scale)
Once you click OK in the Set Controller currently active in the toolbar.
Defaults dialog, the controller defaults are
changed. If no transform button is active, a bracket appears
when you’re on a frame containing any of the three
Changes to the controller default settings are transforms.
written to your 3dsviz.ini file and become the
defaults for all newly assigned controllers and Position/Rotation/Scale—Specifies which type of
all new scenes. transform displays a bracket. If only Rotation is
turned on, brackets appear only on those frames
containing Rotation keys. These check boxes
become active when Use Current Transform is Restore To Factory Settings—Prompts you to verify
turned off. if you want to reset all controllers to the program’s
default settings. If you choose Yes, the defaults are
Animate group reset for all controllers currently in the system.
Local Center During Animate—Locks the center
method to local (page 3–692). Turn off if you
want to animate around a non-local center such as File Preferences
world or selection. Customize menu > Preferences > Preference Settings
dialog > Files tab
MIDI Time Slider Control group
On the Files panel of the Preference Settings
Enables use of a MIDI device to control the time
dialog, you set options relating to file handling.
slider. Choose On to use the MIDI device specified
You also select the program used for archiving.
in the MIDI Time Slider Control Setup dialog
This is where you control the options for log file
(page 3–567), which is displayed with the Setup
maintenance. You can enable Auto Backup in this
button.
dialog to save your work automatically at defined
Sound Plug-In group intervals.
Assign—Displays a dialog listing all sound plug-ins Interface

installed in the system. Select a new plug-in to
replace the current one.
Controller Defaults group

Sets the default values for animation controllers
capable of supporting default settings. For
example, set the default values for tension,
continuity and bias in the TCB float controller.
Override Parametric Controller Range By
Default—When on, new parametric controllers
are active throughout the timeline, independent
of their animation range. Otherwise, they respect
it and are only active within their range. Refer
to Ignore Animation Range (page 2–859) and
Respect Animation Range (page 2–860) for more
details. Default=on. File Handling group
Set Defaults—Displays a dialog listing all Convert file paths to UNC—When on, paths
controllers that can have their default values shown in the user interface for any files present on
changed. The Set button becomes available a mapped drive use Universal Naming Convention
when you choose a controller class from the list. (UNC) format (page 3–743). When off, each path
Highlight a controller class, click Set, edit the starts with the mapped drive letter (e.g., w:\).
default key values, and then click OK.
File Preferences 549
This check box is linked to the Convert file paths Save File Properties—When on, any data entered
to UNC switch on the Asset Tracking dialog > in the File Properties dialog (page 3–112) is saved
Paths menu. Toggling either one toggles both. with the scene file and can be accessed with
Note: This switch affects only newly added paths. Windows Explorer and File Finder (page 3–126).
Toggling it has no effect on existing paths. For When off, the file properties information is not
example, if you load an image file into a Bitmap stored with the file. Default=on.
map (page 2–1205) from a mapped drive with the Display Obsolete File Message—Turns off the
switch on, turning it off does not change the file "Obsolete data format found - Please resave file"
path to the mapped version. alert that is displayed when you load a MAX file
Backup on Save—Creates a backup file if a file of created in an earlier version of Autodesk VIZ.
the same name already exists. The existing file is Default=on.
renamed maxback.bak and placed in the autoback There is a matching "Do not display this message"
directory before the save occurs. You can edit the check box in the alert itself, and you can also turn
automatic backup settings in the Auto Backup off the alert from there.
group (page 3–549). Default=on.
Reload textures on change—When on, reloads
Increment on Save—Creates a new copy of the bitmapped textures if the date of the bitmap file
file in the same directory whenever you save the has been updated. Default=on.
file. The name of the new file is incremented by
Recent Files in File Menu—Sets the maximum
1 (filename01.max, filename02.max, and so on).
Default=off. number of recently edited MAX files to display
in the list File > Open Recent. Range=0 to 50.
Compress on Save—Saves the Autodesk VIZ file in Default=9.
a compressed format. Depending on the details
of the file, the compressed file can be as small as Auto Backup group
one-fifth the size of its uncompressed equivalent.
Auto Backup saves your work periodically. In the
Default=off.
event of a power failure, if you have not saved your
You can determine whether a Autodesk VIZ file is work, you can load in an auto backup (autoback)
compressed or not by bringing up Properties for file from the autoback subdirectory in the program
the file in Windows Explorer. On the Contents directory and continue working with little lost
panel, under General, you’ll see whether the file is work.
compressed or uncompressed.
Auto Backup creates auto backup files based on a
Save Viewport Thumbnail Image—Saves a 64-pixel time interval. The name of an auto backup file is
thumbnail of the active viewport when you autobakn., where autobak is the main part of the
save each MAX file. The Asset Browser reads name (autobak is the default), and n is an integer
thumbnails. Saving thumbnails adds about 9K to from 1 to 9.
each MAX file. Default=on.
For example, if you’ve set Auto Backup to create
Save Schematic View—When on, the active three auto backup files at one-minute intervals,
schematic view is saved with the MAX file. Auto Backup will create autobak1.max, and
Default=on. then a minute later autobak2.max, and then
autobak3.max. At the fourth minute, the system
overwrites autobak1.max, and so on.
Enable—Enables Auto Backup. Import Options group

Number of Autobak Files—Determines how many Zoom Extents on Import—Zooms all viewports to
backup files to write before overwriting the first scene extents after importing a file. If this is turned
one. Range=1 to 9. off, zoom extents isn’t performed.
Backup Interval (minutes)—Determines the number
Archive System group
of minutes between backup file generation.
Program—Specifies the name and location of the
Auto Backup File Name—Lets you enter an program to use for archiving. The program must
alternative name for the auto backup file. Auto be independently installed on your system. You
backup files with a different name still have the can add command-line arguments to follow the
filename extension .max. Default="Autobak". executable file name. For example, for the PKZIP
program, the arguments might be:
Log File Maintenance group
project1.zip c:proj0?.max -o
The following controls affect the viz.log file.
Never Delete Log—Determines how long the log
file is maintained. When you choose Never Delete, Gamma Preferences
the viz.log file remains on the hard disk and
continues to grow. dialog > Gamma tab
Maintain Only...Days—Resets the file to zero bytes

after it reaches the number of days specified in this On the Gamma panel of the Preference Settings
field. dialog, you set options to adjust the Gamma (page
3–682) values for input and output images and for
Maintain Only... Kbytes—Resets the file to zero the monitor display.
bytes after it reaches the number of kilobytes
specified in this field. Interface
Errors—Writes fatal errors to the viz.log file instead
of generating Alert dialogs. Alerts halt network
rendering for one or more servers.
Warnings—Writes warning messages to the viz.log
file instead of generating Alert dialogs.
Info—Writes general information to the viz.log file
instead of generating Alert dialogs.
Debug—Writes debug messages to the viz.log file
instead of generating Alert dialogs.
The type of errors covered by these four categories
include maps that can’t be found, missing UV
coordinates, missing output directories, full disks,
missing DLLs, disks to which you don’t have
access, invalid meshes, and obsolete MAX files
Viewport Preferences 551
Enable Gamma Correction—Makes available the example, when you are rendering a scene to an
controls for adjusting gamma adjustments you image file.
make and applies the adjustments. Turn off to
disable gamma correction. Bitmap Files group
Load Enable State with MAX Files—Loads the Input Gamma—The system input gamma that the
state of Enable Gamma Correction with each software uses to process bitmaps if that bitmap
Autodesk VIZ file. type doesn’t override the gamma with its own
gamma value. In the case of Targa files, the file’s
When you choose Load Enable State, and load inherent gamma will override the system input
a scene file whose Enable Gamma Correction gamma. You use the Input Gamma to invert the
state differs from the current state, you can make gamma of bitmaps coming into Autodesk VIZ
the correction correspond with the setting in the (for example, texture maps) so that when they
current file or leave the setting as is. are processed by the renderer and re-output, the
If you have a vizstart.max file and you choose this bitmaps aren’t gamma corrected twice.
option, new sessions of Autodesk VIZ use the Tip: If you have gamma enabled when loading
Enable Gamma Correction state in the file. If you texture maps, set your input gamma to the same
turn this option, off, the file doesn’t affect the state value as your display gamma, or your maps will
of Enable Gamma Correction. be too bright.
Display group Output Gamma—The system output gamma that

the software uses to process bitmaps if that bitmap
You use display gamma tables for the Material type doesn’t override the gamma with its own
Editor spheres, the color selector, color swatches, gamma value.
and the rendered frame window (page 2–1318)
(Scanline Renderer). Take note of the default value
before you start making adjustments in case you Viewport Preferences
need to restore it.
You can use these controls to adjust gamma dialog > Viewports tab
numerically.
Gamma—Adjusts the gamma display for
On the Viewports panel of the Preference Settings
Autodesk VIZ. The field increases or decreases dialog, you set options for viewport display and
the value (lightness or darkness) of the solid behavior.
gray center square. Adjust the value until the You can also set the current Display Driver.
center square is as close as possible in value to the
surrounding checkered square. See also
If you’re creating imagery that will be sent to Strokes (page 3–593)
someone, turn on the Gamma options to assure
Graphics Driver Setup Dialog (page 3–558)
yourself that the image will look correct at the
destination site. Configure Driver (page 3–560)
You can also display these gamma settings from
the Gamma button in the File Browser dialog, for
Interface Draw Links as Lines—Displays the hierarchical links

(page 3–684) between parent and child objects as
plain lines, rather than shapes when Display panel
> Link Display rollout > Display Link is turned
on.Show Links is enabled in the Object Properties
dialog.
Backface Cull on Object Creation—Determines
whether to display faces with normals (page
3–704) pointing away from view. When turned on,
you see through the wireframe to the backfaces.
This option applies to wireframe viewport displays
only. In most cases, you’ll want this item turned
on. However, if you’re modeling with NURBS
surfaces, which consist of single-sided planes, it’s
easier to view them from all angles when backface
culling is turned off.
• This control affects only the created objects,
Viewport Parameters group and you can reverse the effect on each object by
changing the Backface Cull setting in the Object
Use Dual Planes—Uses the front/back plane system
Properties dialog for that object.You might turn
when redrawing the viewport. The selected object
off Backface Cull On Object Creation before
is manipulated in the front plane and is redrawn,
creating your NURBS, and then turn it on again
while other objects remain on the back plane and
when your finished.
are not redrawn. This default setting provides the
fastest redraws under normal circumstances. If • You can globally change the display of backface
your assigned display driver doesn’t support dual culling in the viewports by turning on Force
planes, this option is not available. 2-Sided (page 3–585) on the Rendering Method
panel of the Viewport Configuration dialog.
Turn off this setting to improve redraw speed if you
are rotating the whole scene or moving a camera Attenuate Lights—Turns the display of attenuation
through the scene (usually situations in which the effects (page 3–658) on or off from start to end in
whole viewport needs to be redrawn anyway). the interactive viewport renderer. When turned
off, attenuated lights behave as though there was
Show Vertices As Dots—When on, the software
no attenuation. Default=off.
displays vertices in mesh and patch objects as
small, solid-color squares, whose size you can set Mask Viewport to Safe Region—By default, the
with the Size parameter. When off, the vertex viewport area outside the outermost safe frame
display is a tick mark. displays the contents of the viewport. When this
box is turned on, that area is left blank.
Size—Lets you specify the vertex size displayed in
the viewports. Range=2 to 7. Default=2. Update Background While Playing—Turns on the
updating of bitmaps in the viewport background
Handle Size—Lets you specify the display size
when you play an animation. When turned on,
for handles attached to patch vertices and spline an IFL, (page 3–259) FLC or, (page 3–255) AVI
vertices. Range=2 to 7. Default=3.
Viewport Preferences 553
(page 3–252) file updates on each frame when you Grid Nudge Distance—Sets the nudge distance for
click the Play button. Turn off the real-time (page the Nudge Grid Down and Nudge Grid Up keys,
3–721) switch in the Time Configuration dialog which you can use to move selected objects into
(page 3–447) to use this feature. position.
In Autodesk VIZ, the viewport updates not only Non Scaling Object Size—Sets the display size of
when you click Play, but also when you drag the cameras, lights, and other nonscaling objects.
time slider. Default=1.
Filter Environment Backgrounds—Affects the
Display Drivers group
background displayed in the viewport only when
the Viewport Background parameter (page 1–36) Currently Installed Driver—Displays the name of
is turned on in the Viewport Background dialog. the currently installed driver.
When you turn on Filter Environment Choose Driver—Displays the VIZ Driver Setup
Backgrounds, the environment background is dialog (page 3–558). Use this dialog to select
filtered in the viewport, resulting in an antialiased a different software display driver, or to switch
image. When you turn it off, the background drivers if you installed a hardware accelerator card.
image is not filtered, resulting in an aliased, Configure Driver—Displays the Configure Driver
pixelated image. dialog (page 3–560), where you can change the
• Filtering slows down the recalculation of the driver options for your currently selected driver.
viewport background image about 30 to 40
percent. Unless you really need that smooth Ghosting group
display, it’s best to leave the option turned off. Ghosting Frames—Specifies the number of ghost
• This option doesn’t affect the rendered images that appear before and after the current
background image, and doesn’t effect the frame when you choose Show Ghosting from the
viewport backgrounds when you turn on Use Views menu. If you display ghosts both before and
Environment Background. after the current frame, the total number of ghosts
is twice this number.
Low Res Environment Background—Reduces the
size of the environment background map by half, Display Nth Frame—Specifies the number of frames
and then magnifies it to the size needed for the between the appearance of each ghost. The smaller
viewport. This results in a chunkier, pixelated this number, the closer the ghost images appear
appearance, but speeds the rendering in the to each other.
viewport by four times (because it halves the width
Ghost Before Current Frame—Displays only ghost
and the height of the original image).
images that occur before the current frame. This
Tip: Unless you need fine detail in your makes the ghosts trail the object.
environment background, it’s best to leave this
Ghost After Current Frame—Displays only ghost
item turned on.
images that occur after the current frame.
Display World Axis—Displays a world axis in the
Ghost Before and After—Displays ghosts both
lower-left corner of all viewports when turned on.
Default=on. before and after the current frame.
Ghost in Wireframe—Displays ghosts in black When this option is turned off; you can right-click
wireframe in shaded viewports. When turned anywhere in the viewports to display a menu.
off, the ghosts appear as shaded objects, using the
Wheel Zoom Increment—Determines the
same colors as the wireframe ghosts.
sensitivity of the zoom when you use the wheel on
Show Frame Numbers—Displays a frame number the mouse. Increase sensitivity up to a maximum
in the upper-left corner of each frame. value of 100 or reduce it to a minimum of 0.01.
Default=1.0.
Mouse Control group
Middle Button Pan/Zoom—Sets the middle mouse
button to pan in the viewport if you have a Gizmos Preferences
three-button mouse. If you have a Microsoft Customize menu > Preferences > Preference Settings
Intellimouse, you can also roll the middle wheel dialog > Gizmos tab
to zoom the viewport.
You set the display and behavior of the Transform
To Zoom with a three button mouse, press
gizmos (page 1–348) on the Gizmos panel of the
CTRL+ALT and drag the center button.
Preference Settings dialog.
Note: By default, the Intellimouse slows the speed
of the mouse when you hold down the wheel Interface
button. You can increase the mouse speed in the
Mouse Properties dialog in the Windows Control
Panel. Choose the Wheel tab, click the Settings
button in the Wheel Button group, and turn the
slider up to Fast.
Stroke—Assigns command shortcuts to stroke
patterns applied by dragging with the middle
mouse button. See Strokes (page 3–593).
Zoom About Mouse Point (Orthographic)—When
this control is turned on, viewports zoom about
the point where you click the mouse. With it
turned off, viewports zoom about the center of the
view. This applies to orthographic viewports only.
Zoom About Mouse Point (Perspective)—When this
Transform Gizmos group
control is turned on, viewports zoom about the
point where you click the mouse. With it turned On—When on, Autodesk VIZ uses the Transform
off, viewports zoom about the center of the view. gizmo to enable more powerful move, rotate, and
This applies to perspective viewports only. scale options. When turned off, a basic tripod is
displayed, with no axis specificity.
Right Click Menu Over Selected Only—Limits the
right-click menu display over a selected object. Show Axis Labels—Toggles the display of the axis
Default=off. labels on the Transform gizmo.
Gizmos Preferences 555
Note: Functionality is maintained when axis labels Rotate Gizmo group

are turned off.
Relative Size (%)—Sets the size of the Rotate gizmo,
Allow Multiple Gizmos—Toggles the display of relative to the Size value of the Transform gizmo.
more than one gizmo at a time. Range= 0.0 to 500.0.
When turned off, a Transform gizmo will only be Free Rotation—Toggles the use of free rotation.
displayed for one object at a time in a selection set. Note: When this is turned off, you can only rotate
When turned on and when Use Pivot Point Center an object along an axis, or parallel to the screen
in the Use Center flyout is active, each object in a (if Screen Handle is on).
selection set will have its own transform gizmo. Show Tripod—Toggles display of an axis tripod at
Size—Sets the size of the Transform gizmo as a the pivot point. This tripod also highlights the
percentage of the viewport size. Range=1 to 100. selected axis while rotating.
Screen Handle—Toggles display of the screen
Move Gizmo group orbit, which lets you rotate an object parallel to
Relative Size (%)—Sets the size of the Move gizmo, a viewport.
relative to the Size value of the Transform gizmo.
Show Pie Slice—When on, a shaded pie slice acts
Range= 0.0 to 500.0.
as a visual indicator of the direction and amount
Plane Handles group of rotation.
The plane handles let you constrain object Note: If you rotate more than 360°, the slice
movement along combinations of any two axes. overlaps and the shading becomes more and more
intense.
On—Toggles the use of plane handles on the
Transform gizmo. Angle Data—When on, numerical feedback
appears during rotation, indicating rotation values
Size—Sets the size of the plane handles, as a along the X, Y, and Z axes.
percent of the distance from the Offset to the
tripod axis. Range=0.0 to 100.0. Rotation Method—Sets the rotation method for
the gizmo:
Offset—The percentage of the distance from the
• Linear Roll: Rotate the virtual trackball by
gizmo’s tripod axis to the outer extent of the
dragging in a single direction, tangent to the
Primary axis handles.
Rotate gizmo.
For example, 0 = no plane handles; 100 = plane
Note: A tangent handle will appear to show the
handles extend as far as the Primary axis handles.
best direction to drag the mouse.
Center Box Handle group • Circular Crank: Rotate the virtual trackball by
dragging around the Rotate gizmo, in a circular
The center box can be used as a handle for
manner.
translations constrained parallel to a viewport.
• Legacy R4: Turns off virtual trackball
Move in Screen Space—Toggles the use of the center behavior, and uses the rotation method from
box handle. Autodesk VIZ 4.
Planar Angle Threshold—Determines when the difficult to move objects when the plane is not
Circular Crank rotation method will automatically parallel to the screen.
switch to Linear Roll to prevent loss of control over
Persp Sens—Sets mouse sensitivity for projection
the gizmo.
transforms.
This occurs when a Primary axis is nearly 90
Rotation Increment—Specifies the amount of
degrees to the view plane, making it different to
rotation generated by moving the mouse 1 pixel.
circle around. Any angle to the view plane that
Lower this value for angular rotations smaller than
is higher than this setting will use Crank mode,
the default .5 degrees. The lower this value, the
but any angle equal to or less than this setting will
more mouse movement is needed to rotate objects.
always function as a Linear Roll.
Viewport Arc Rotate Snap Angle—Sets the amount
Scale Gizmo group of rotation in degrees.
Relative Size (%)—Sets the size of the Move gizmo,
relative to the Size value of the Transform gizmo. Turn on Angle Snap on the main toolbar,
Range= 0.0 to 500.0. and then use Arc Rotate (page 3–466) to rotate
Uniform Handle Size (%)—Sets the size of the a viewport. The viewport rotation snaps by the
handle for uniform scaling (the distance from value set here. The Arc Rotate cursor displays a
the transform center to the edge of the uniform small magnet in the upper left to indicate that
handle), as a percentage of the scale gizmo size. Angle Snap is turned on.
2–Axis Handle Size (%)—Sets the size of the handle
for non-uniform scaling along 2–axes (the distance
MAXScript Preferences
from the edge of the uniform handle to the edge
of the 2–axis handle), as a percentage of the scale Customize menu > Preferences > Preference Settings
dialog > MAXScript tab
gizmo size.
Uniform 2–Axis Scaling—Forces scaling using a On the MAXScript panel of the Preference Settings
2–axis plane handle to be uniform. dialog, you set MAXScript and Macro Recorder
preferences, enable or disable auto-loading of
Move/Rotate Transforms group scripts, set the initial heap size, change font
Controls the way you can move selected objects style and size used in the MAXScript editor, and
with the mouse in a non-orthographic (page manage all the settings for the Macro Recorder.
3–710) view such as Perspective (page 3–713). You can also change these settings by editing the
Intersection—Shoots a ray from the mouse point [MAXScript] section of the 3dsviz.ini file.
into the screen. This makes moving objects easier, Note: Two paths to support auto-startup scripts
but as you move toward the horizon (page 3–685), are on the Configure User Paths dialog (page
the object moves great distances. 3–529) and Configure System Paths dialog (page
Projection—Projects the motion of the mouse 3–531): ..\scripts and ..\scripts\startup. If you
onto the plane. This ensures that there are no prefer to start scripts from a different directory,
singularities at the horizon, and that motion is you can change these default directories with the
always smooth and stable. However, it can become corresponding Customize menu commands.
MAXScript Preferences 557
Choose Help > MAXScript Reference for details Load/Save Scene Scripts—Enables Scene Script
on MAXScript. loading and saving.
Load/Save Persistent Globals—Enables load and
Interface
save Persistent Globals.
MAXScript supports a limited form of variables.
You declare that a particular global is persistent
and the value it contains is always saved to and
restored from scene files as they are opened
and closed. In this way you can, for example,
keep direct references to objects in the scene in
variables. Those references will move across scene
save and reload.
MAXScript Windows group

Font—Choose a font for the MAXScript editor
Font size—Choose a font size for the MAXScript

editor.
Auto Open Listener On Output—Opens the Listener
if a script sends output to a WindowStream value
Startup group with no associated window. This would require a
You can start scripts automatically in two ways. MAXScript extension.
You can create a file named startup.ms that
contains your startup code. MAXScript searches Runtime group
for this file in the scripts directory first, then Use Fast Node Name Lookup —When on,
the Autodesk VIZ root directory, and finally MAXScript indexes scene node names in a cache,
the directories specified in the Windows PATH resulting in significantly faster resolution of
environment variable. MAXScript stops searching non-wildcard pathname values (for example,
after it finds the first occurrence of startup.ms. $box01) to node values. When off, the scene nodes
You can also place the script files you want are enumerated as MAXScript looks for a scene
auto-loaded into the \startup directory inside the node name that matches the pathname, resulting
\scripts directory. MAXScript loads any script file in slower lookups.
with the file name extension .ms or any encrypted Turn this off if you encounter an incompatibility
script file with file name extension .mse. with an existing script.
If you have both a startup.ms file and auto-load
files in the \startup directory, MAXScript always Memory group
loads startup.ms first. Initial Heap Allocation (Mbytes)—Sets the initial
Load Startup Scripts—Loads scripts automatically heap allocation.
when Autodesk VIZ starts. MAXScript carves its own working memory
(called a heap) out of the memory that the software
allocates. You can add to the heap at any time by Explicit Sub-object Sets—Uses explicit sub-object
increasing the value here. sets in the code.
Selection-relative Sub-object Sets—Uses selection
Macro Recorder Group
relative sub-object sets in the code. Default=on.
Enable Macro Recorder—Enables the Macro
Absolute Transform Assignments—Uses absolute
Recorder.
transforms in the code.
Autodesk VIZ starts with the macro recorder
Relative Transform Operations—Uses selection
disabled and a minimized Macro-Recorder pane
in the MAXScript listener window. relative transform operations in the code.
You can also enable the Macro Recorder by turning

on MAXScript > Macro Recorder or by turning
on Enable in the Macro Recorder menu on the
MAXScript Listener toolbar. Graphics Driver Setup
This state is stored in the 3dsviz.ini file. Turning
it on once keeps it enabled across restarts of the
program. Graphics Driver Setup Dialog
Code Filters group dialog > Viewports tab > Display Drivers group > Choose
Driver button
Command Panel Switchings—Displays command
panel switchings in the code. (With Direct3D active) Customize menu > Preferences
> Preference Settings dialog > Viewports tab > Display
Drivers group > Choose Driver button > Direct3D Driver
Tool Selections—Displays tool selection in the Setup dialog > Revert From Direct3D button
code.
Menu Item Selections—Displays menu selection in
You choose and configure graphic display drivers
the code. on the Viewports panel of the Preference Settings
dialog. This topic explains driver options available
Code Generation group on the Display Driver Setup dialog and analyzes
trade-offs in performance.
The Code Generation parameters refer to whether
or not the script emitted is made selection-relative, You can also change the graphics driver when you
if possible, or if it contains object references. By start Autodesk VIZ by going to the Start menu and
making the script selection-relative, you can apply choosing Programs > Autodesk > Autodesk VIZ
the recorded script to a different selection, thereby 2007 > Change Graphics Mode.
making it more general. Absolute mode always
works on the same objects regardless of the current See also
selection. Configure Driver (page 3–560)
Explicit Scene Object Names—Uses scene object Configure Software Display Driver Dialog (page
names in the code. 3–561)
Selection-relative Scene Object Names—Makes Configure OpenGL Dialog (page 3–561)
Scene Object Names relative in the code.
Default=on. Configure Direct3D Dialog (page 3–565)
Graphics Driver Setup Dialog 559
Direct3D Driver Setup Dialog (page 3–564) Because OpenGL is most efficient when run on
systems with at least rasterization acceleration,
Interface the software display driver/SZB option may work
best on systems with an ordinary 2D display card.
However, with a 3D-enabled card, you may see
dramatic acceleration using the OpenGL driver.
The disadvantages of the Open GL driver are as
follows:
• All potentially visible scene data must be
transferred to the driver, and this can cause a
communication bottleneck across the system
bus. In particular, this slows down the display
of individual primitives (as opposed to strips or
polylines, like wireframe displays).
• Because the OpenGL design supports a wide
On the Display Driver Setup dialog, some options variety of display systems, there is no guarantee
are unavailable if the corresponding driver is not that either incremental scene update methods
installed in the system. The currently installed (partial window blits (Block Image Transfers)
driver is listed in the Display Driver group. or dual planes) will work with a particular
implementation of OpenGL.
Software Display Driver • Because lighting and texturing are restricted
Choose this if you’re using software rather than to OpenGL-specified semantics, mismatches
hardware acceleration. This choice is always between Autodesk VIZ scene lighting and
available. texturing and what appears in an OpenGL
viewport can occur. This applies especially to
OpenGL attenuated lights and non-tiled texture display.)
Choose this option if you’re using any form Direct 3D

of hardware acceleration. The software will
use whatever driver has been installed in your Choose this if you have a Direct3D (D3D) driver
operating system. installed on your system. If you don’t have DirectX
8.1 or above installed, this option is unavailable.
The OpenGL driver supports geometry
acceleration as well as rasterization acceleration. To configure the Direct3D driver, click the
It offers the optimum display performance Advanced Direct3D button. This button, which
for animated deforming meshes. It’s tightly is available only when Direct3D is the active
integrated into Windows NT and Windows 2000, option, opens the Configure Direct3D dialog
and many 3D display cards were specifically (page 3–565).
designed to accelerate OpenGL operations. To switch to a different display driver when
OpenGL implementations have all of the scene Direct3D is the active driver, click the Choose
data necessary to optimize the entire 3D display Driver button on the Viewports tab of the
process. Preference Settings dialog to open the Direct3D
Driver Setup dialog (page 3–564), click Revert

From Direct3D, and then choose the new driver Configure Driver
from the Graphics Driver Setup dialog.
dialog > Viewports tab > Display Drivers group >
The Microsoft Direct3D API supports both Configure Driver button
rasterization and 3D scene-level calls. It offers the
optimum display performance for large modeling You configure the current display driver using the
tasks, and pixel shading. (Autodesk VIZ supports Viewports panel of the Preference Settings dialog.
only D3D Version 8 or above, which is included
in DirectX 8.1.) D3D calls are accelerated if the Changes to a driver’s configuration take effect
display hardware supports this. immediately, and the configuration persists
between sessions. However, data downloaded to
Many inexpensive 3D display cards can use this the graphics card is not regenerated. For example,
driver efficiently. This driver supports scene if you change the texture resolution, the hardware
data culling efficiently, accelerates texture display continues to use the previous resolution until you
(depending on the specific display card), and use the Material Editor to reload the texture.
performs perspective correction.
The options in the driver configuration dialog
The driver works with high-color displays, which vary, depending on which driver is in use. This
provide a good trade-off between display quality reference describes the options for the software
and memory overhead. Incremental display display driver (page 3–561), Direct3D driver (page
update works efficiently. 3–565), and Open GL driver (page 3–561).
The disadvantages of the Direct3D driver are as If you use a custom driver, the options depend
follows: on what the driver’s manufacturer provides. See
• The driver currently runs only under Windows the manufacturer’s documentation for further
98, Windows Millennium, Windows 2000, and information.
Windows XP. (There is no multi-processor
Windows NT support.) See also
• Dual-plane operations are slow (if available), Graphics Driver Setup Dialog (page 3–558)
and there can be some additional overhead in
Configure Software Display Driver Dialog (page
minimizing/maximizing viewports due to the
3–561)
way D3D allocates video memory.
Configure OpenGL Dialog (page 3–561)
You can download D3D drivers from this location:
www.microsoft.com/windows/directx/. Configure Direct3D Dialog (page 3–565)
Custom
Choose this if you have a custom driver installed
on your system. Such custom drivers don’t use
the software display driver (Heidi), OpenGL, or
Direct3D. If you don’t have such a driver installed,
this option is not available.
Configure Software Display Driver Dialog 561
Download Texture Size group

Configure Software Display Driver
64, 128, 256, 512—These buttons specify the size of
Dialog the bitmaps used to map surfaces in the viewports.
Customize menu > Preferences > Preference Settings The larger the size, the better the resolution but
dialog > Viewports tab > Display Drivers group > the slower the speed. High speed produces jagged
Configure Driver button (when Software Display Driver
is the current driver) maps and slower speeds produce smooth maps.
Note: When Match Bitmap Size As Closely as
The software display driver does not require Possible is on, these buttons are overridden,
hardware acceleration. however they are still available. The value is still
used when procedural textures are converted to
Interface bitmaps for viewport texture display.
Match Bitmap Size as Closely as Possible—To allow
the viewport to show actual texture resolutions,
bitmaps are individually resized in the display. This
means that small bitmaps don’t get overexpanded
and large bitmaps retain their resolution (but
potentially use a lot more video RAM).
Note: Bitmaps can be no larger than 4000 x 4000
pixels (or they will be scaled down to this size) and
no smaller than 32 x 32 (or they will be scaled up
to this size). Default=off.
Redraw Scene On Window Expose—Redraws the Configure OpenGL Dialog

whole scene when a dialog over the viewports is
moved, resulting in smoother dragging of dialogs dialog > Viewports tab > Display Drivers group >
such as the Material Editor. Configure Driver button (when OpenGL is the current
driver)
If your Autodesk VIZ display easily becomes
messy or "corrupted," turn this option on and then The OpenGL display driver provides options that
redraw viewports by choosing Views > Redraw All support hardware acceleration.
Views (the default keyboard shortcut for this is the
‘ (accent grave) key, on the left side of the “1” key).
Use Triangle Strips—Strips the geometry, which
can more than double the display speed. In
some cases, such as when topology is constantly
changed, the time taken to strip the geometry can
cause a slowdown instead. In such cases, turn off
this option. Otherwise, leave it on for speed.
Interface destroys the back buffer only when there’s a single

viewport, turn on this sub-option. The OpenGL
driver redraws the scene when a single viewport is
visible, but doesn’t have to redraw when multiple
viewports are visible. Default=off.
Windowed SwapBuffers Destroys Back Buffer—If,
after updating the screen, the display card destroys
the back buffer when multiple viewports are
visible, turn on this sub-option. Default=off.
Use Triangle Strips—Strips all geometric data
before sending it to the driver. In some cases, such
as when topology is constantly changed, the time
taken to strip the geometry can cause a slowdown
instead. In such cases, turn off this option.
Otherwise, leave it on for speed. Default=on.
This option has one subordinate option:
Display Wireframe Objects Using Triangle
Strips—Default=off.
Allow Dual Plane Support—Uses the front/back

plane system when redrawing the viewport. The
Implementation-Specific Settings group selected object is manipulated in the front plane
and is redrawn, while other objects remain on
Redraw Scene On Window Expose—Redraws the
the back plane and are not redrawn. This default
whole scene when a dialog over the viewports is
setting provides the fastest redraws under normal
moved, resulting in smoother dragging of dialogs
circumstances. If your assigned display driver
such as the Material Editor. However, redrawing
doesn’t support dual planes, this option is not
takes some time. Default=on.
available.
If your Autodesk VIZ display easily becomes
Turn off this setting to improve redraw speed if you
messy or "corrupted," turn this option on and then
are rotating the whole scene or moving a camera
redraw viewports by choosing Views > Redraw
through the scene (usually situations in which the
All Views (the default keyboard shortcut for this
whole viewport needs to be redrawn anyway).
is the "1" key).
Use Incremental Scene Updates—Redraws only
This option has two subordinate options. How
those scene objects that have changed, or that
you should set them depends on how the display
intersect a region changed by another moving
card handles its back buffer, which is used for
object. When turned off, the entire scene is
refreshing the screen. Turn on one or the other,
redrawn for each new frame. Default=on.
as appropriate.
If your Autodesk VIZ display becomes messy or
Full Screen SwapBuffers Destroys Back Buffer—If,
"corrupted" as a result of incremental updates,
after updating the screen, the display card
turn this option off and then redraw viewports by
Configure OpenGL Dialog 563
choosing Views > Redraw All Views (the default Background Texture Size—Unlike the Software
keyboard shortcut for this is the ‘ [accent grave] Display driver, which uses bitmaps to display
key). viewport backgrounds directly, the OpenGL driver
uses a texture-mapped background rectangle.
Use BGRA Pixel Format—When on, sends bitmaps
This allows for smoother zooms and pans in
using BGRA (blue-green-red-alpha) ordering for
orthographic views and can take less memory than
pixels. This is the default order for Windows.
the direct bitmap method. However, background
By default, OpenGL expects RGBA ordering.
bitmap resolution may be lost. Increase the
Because of this, under default conditions, loading
resolution if you’re using a maximized viewport
textures or backgrounds requires the pixels to be
to digitize.
reordered. OpenGL supports an extension that
allows it to receive pixels in BGRA order. This Download Texture Size—Lets you choose the size of
means that bitmaps can be displayed directly, the texture map that’s downloaded to the driver
without reordering each pixel. Thus, assuming for texture-mapped scene objects. Larger maps
the OpenGL driver has efficient hardware support look better, but use more display card memory.
for BGRA pixels, turning on this option makes Note: When Match Bitmap Size As Closely as
loading textures and background images much Possible is on, these buttons are overridden,
faster. Default=on. however they are still available. The value is still
Use Generalized Vertex Arrays—When on, enables used when procedural textures are converted to
Autodesk VIZ to use custom driver code to bitmaps for viewport texture display.
render smoothly shaded objects. Typically this Match Bitmap Size as Closely as Possible—To allow
is much faster than using standard OpenGL the viewport to show actual texture resolutions,
code, but has an effect only when the driver has bitmaps are individually resized before they are
hardware-specific custom code. Default=on. downloaded to the driver. This means that small
Use Wireframe Faces—When on, makes wireframe bitmaps don’t get overexpanded and large bitmaps
display accessible to hardware acceleration. retain their resolution (but potentially use a lot
Default=on. more video RAM).
This option is intended to allow display-card Note: Bitmaps can be no larger than 4000 x 4000
manufacturers to accelerate Autodesk VIZ pixels (or they will be scaled down to this size) and
wireframe displays in a way that is specific to the no smaller than 32 x 32 (or they will be scaled up
underlying display hardware. Check with your to this size). Default=off.
display-card manufacturer to see if enabling this Texel Lookup—Specifies whether to use the nearest
option will yield faster wireframe rendering with pixel (page 3–715) or to linearly interpolate the
your display card. pixel value from the four closest texels (page
3–738). Using the nearest pixel is faster, but
Appearance Preferences group using texels produces a higher-quality display.
Enable Anti-Aliased Lines in Wireframe Default=Nearest.
Views—Draws lines slightly thicker and much MipMap Lookup—Specifies whether to use one
smoother. This is best used for wireframe-only version of the texture map (None) or to interpolate
views, and especially if you’re making a preview of between a pyramid of progressively smaller maps.
wireframe objects. With Nearest chosen, the texel lookup is done
on the map level nearest the ideal one, and with Interface
Linear, the texel values from the two closest map
levels are interpolated. Default=None.
Note: When both Texel and MipMap lookup are
set to Linear, a true trilinear weighting of 8 texel
values is used for a single pixel display. This is very
accurate and helps eliminate aliasing, but it is time
consuming if the texture-mapping hardware is not
accelerated.
Direct3D Driver Setup Dialog

dialog > Viewports tab > Display Drivers group > Choose
Driver button (if Direct3D is the active driver)

dialog > Viewports tab > Display Drivers group > Choose
Driver button > Graphics Driver Setup dialog > Choose
Direct3D. > Advanced Direct3D button
When using the Direct3D display driver with

Autodesk VIZ, this dialog lets you make some
basic choices for setting up the driver. Further
Direct3D configuration options are available from
Direct3D Version—The available option is
the Configure Direct3D dialog (page 3–565).
whichever version is currently active in your
To switch to a different display driver when system: DirectX 8.1 or DirectX 9.0.
Direct3D is the active driver, click the Choose
Direct3D Device—The default option is Hardware
Driver button on the Viewports tab of the
(HAL). The Software (RefRast) option is for use
Preference Settings dialog, click Revert From
by software developers, and is unavailable unless
Direct3D, and then choose the new driver from
the debug version of DirectX is installed in your
the Graphics Driver Setup dialog.
system.
Direct3D Use Flags—The default option is
Release. The Debug option is for use by software
developers, and is unavailable unless the debug
version of DirectX is installed in your system.
Revert from Direct3D—Click this button to display
the Graphics Driver Setup dialog (page 3–558),
which lets you choose a different driver.
Configure Direct3D Dialog 565
Implementation-Specific Settings: Geometry

Configure Direct3D Dialog group
Customize menu > Preferences > Preference Settings Display All Triangle Edges—When on, all triangle
dialog > Viewports tab > Display Drivers group > edges are displayed in shaded viewports. When
Configure Driver button (when Direct3D is the current
driver) off, triangle edges are not displayed. Default=on.
Turning off this option can improve viewport
The Direct3D display driver provides options
appearance, but at a cost of display performance.
that support DirectX 8 drivers. You can
download D3D drivers from this location: Use Cached D3DXMeshes—When on, enables
www.microsoft.com/windows/directx/. Autodesk VIZ to use custom driver code to
render smoothly shaded objects. Typically this
Interface is much faster than using standard Direct3D
code, but has an effect only when the driver has
hardware-specific custom code. Default=on.
Use Wireframe Faces—When on, makes wireframe
display accessible to hardware acceleration.
Default=on.
This option is intended to allow display-card
manufacturers to accelerate Autodesk VIZ
wireframe displays in a way that is specific to the
underlying display hardware. Check with your
display-card manufacturer to see if enabling this
option will yield faster wireframe rendering with
your display card.
Use Triangle Strips—Strips all geometric data out
before sending it to the driver. In some cases, such
as when topology is constantly changed, the time
taken to strip the geometry can cause a slowdown
instead. In such cases, turn off this option.
Otherwise, leave it on for speed. Default=on.
This option has one subordinate option:
• For Wireframe Objects—When on, uses triangle
strips for wireframe objects. Default=off.
Implementation-Specific Settings: Window

Updates group
Redraw Scene On Window Expose—Redraws the
whole scene when a dialog over the viewports
is moved, resulting in smoother dragging of
dialogs such as the Material Editor or Track View. object. When turned off, the entire scene is
However, redrawing takes some time. Default=on. redrawn for each new frame. Default=on.
If your Autodesk VIZ display easily becomes If your Autodesk VIZ display becomes messy or
messy or "corrupted," turn this option on and then "corrupted" as a result of incremental updates,
redraw viewports by choosing Views > Redraw All turn this option off and then redraw viewports by
Views (the default keyboard shortcut for this is the choosing Views > Redraw All Views (the default
1 key on the numeric keypad). keyboard shortcut for this is 1 on the numeric
keypad).
This option has two subordinate options. How
you should set them depends on how the display
Appearance Preferences group
card handles its back buffer, which is used for
refreshing the screen. Turn on one or the other, Enable Antialiased Lines in Wireframe Views—Draws
as appropriate. lines slightly thicker and much smoother. This is
best used for wireframe-only views, especially if
• Redraw In Maximized Viewport—If, after
you’re making a preview of wireframe objects.
updating the screen, the display card destroys
the back buffer only when there’s a single Background Texture Size—Unlike the software
viewport, turn on this sub-option. The display driver, which uses bitmaps to display
Direct3D driver redraws the scene when a viewport backgrounds directly, the Direct3D
single viewport is visible, but doesn’t have to driver uses a texture-mapped background
redraw when multiple viewports are visible. rectangle. This allows for smoother zooms and
Default=off. pans in orthographic views and can take less
• Redraw In UnMaximized Viewports—If, after memory than the direct bitmap method. However,
updating the screen, the display card destroys background bitmap resolution may be lost.
the back buffer when multiple viewports are Increase the resolution if you’re using a maximized
visible, turn on this sub-option. Default=off. viewport to digitize.
Allow Dual Plane Support—Uses the front/back Match Bitmap Size as Closely as Possible—Displays
plane system when redrawing the viewport. The background at full resolution. This allows the
selected object is manipulated in the front plane viewport to behave like the rendered frame
and is redrawn, while other objects remain on window (page 2–1318), in regards to zoom and
the back plane and are not redrawn. This default pan. Default=off.
setting provides the fastest redraws under normal Download Texture Size—Lets you choose the size of
circumstances. If your assigned display driver the texture map that’s downloaded to the driver
doesn’t support dual planes, this option is not for texture-mapped scene objects. Larger maps
available. look better, but use more display card memory.
Turn off this setting to improve redraw speed if you Note: When Match Bitmap Size As Closely as
are rotating the whole scene or moving a camera Possible is on, these buttons are overridden,
through the scene (usually situations in which the however they are still available. The value is still
whole viewport needs to be redrawn anyway). used when procedural textures are converted to
bitmaps for viewport texture display.
Use Incremental Scene Updates—Redraws only
those scene objects that have changed, or that Match Bitmap Size as Closely as Possible—To allow
intersect a region changed by another moving the viewport to show actual texture resolutions,
MIDI Time Slider Control Setup Dialog 567
bitmaps are individually resized before they are

downloaded to the driver. This means that small MIDI Time Slider Control
bitmaps don’t get overexpanded and large bitmaps
retain their resolution (but potentially use a lot Setup
more video RAM).
Note: Bitmaps can be no larger than 4000 x 4000
MIDI Time Slider Control Setup
pixels (or they will be scaled down to this size) and
no smaller than 32 x 32 (or they will be scaled up
Dialog
to this size). Default=off. Customize menu > Preferences > Preference Settings
dialog > Animation tab > MIDI Time Slider Control group
Texel Lookup—Specifies whether to use the nearest > Setup button
pixel (page 3–715), to linearly interpolate the pixel
value from the four closest texels (page 3–738), or With the MIDI Time Slider Control Setup dialog
to use anisotropic filtering. Using the nearest pixel you can specify and set up a MIDI device to
is faster, but using texels produces a higher-quality control animation playback.
display. The Anisotropic filter compensates for
the distortion caused by the difference in angle Procedure
between the texture polygon and the plane of the To use a MIDI device to control the animation time
screen. Default=Nearest. slider:
MipMap Lookup—Specifies whether to use one 1. Choose Customize menu > Preferences >
version of the texture map (None) or to interpolate Preference Settings dialog > Animation tab.
between a pyramid of progressively smaller maps. 2. In the MIDI Time Slider Control group, choose
With Nearest chosen, the texel lookup is done On.
on the map level nearest the ideal one, and with
3. Click Setup.
Linear, the texel values from the two closest map
levels are interpolated. Default=None. 4. Set the MIDI device options and click OK.
Note: When both Texel and MipMap lookup are

Interface
set to Linear, a true trilinear weighting of 8 texel
values is used for a single pixel display. This is very
accurate and helps eliminate aliasing, but it is time
consuming if the texture-mapping hardware is not
accelerated.
Presets—Specifies the type of MIDI device used.

You can choose the Media Control Station 2, which
is a MIDI device containing standard VCR-style

playback buttons along with a jog wheel, or you Global Coordinate System
can choose Custom, which specifies note events
in the spinners. You can also use Custom to Dialogs
customize the buttons used by the Media Control
Station.
Coordinate System Category
Channel—Specifies the channel to which your
Manager Dialog
MIDI device is assigned.
Note Number group dialog > GCS panel > Global Coordinate System group >
Define > Category Manager
With the controls in this group you can specify
which note event triggers which function. The Coordinate System Category Manager dialog
enables you to create, edit, or delete a coordinate
Start Frame—Goes to the start frame (the Rewind
system category.
button in the Media Control Station).
End Frame—Goes to the end frame (the Interface
Fast-Forward button in the Media Control
Station).
Step Forward—Moves one frame forward (the
Fast-Forward button and Option button in the
Media Control Station).
Step Backward—Moves one frame back (the
Rewind button and Option button in the Media
Control Station).
Stop—Stops playback (the square button).
Categories—Lists the description of existing
Play—Plays the animation (the arrow button). coordinate systems.
Jog Wheel—Controls the time slider with the jog New—Displays the New Category dialog (page
wheel. 3–579), where you can create a new coordinate
system category.
Sensitivity—Controls the number of ticks that
the time slider moves in response to one unit of Edit—Displays the Edit Category dialog (page
movement from the jog wheel. A lower value 3–572), where you can modify a coordinate system
provides more precise positioning of the time category.
slider, while a higher value makes the time slider
Remove—Deletes the selected coordinate system
move faster. If you set your time display to show
from the coordinate system library.
ticks and set the sensitivity to 1, you can move one
tick at a time with the jog wheel. Close—Closes the dialog and saves any changes
you’ve made.
Help—Displays this topic.
Datum Manager Dialog 569
Datum Manager Dialog Datum Properties Dialog

Customize menu > Preferences > Preferences Settings Customize menu > Preferences > Preferences Settings
dialog > GCS panel > Global Coordinate System group > dialog > GCS panel > Global Coordinate System group
Define > Define or Modify > Geodetic > Define > Define > Click Define or Modify. > Geodetic > Select
> Properties
Interface
Interface
Datums—Lists the descriptions of existing datums.
Define—Displays the Define Datum dialog (page

3–570), where you can define a new datum.
General panel
Using this options requires advanced mapping
knowledge. Code—Specifies a code. The code must be unique
within a category and across all coordinate
Modify—Displays the Modify Datum dialog (page
systems, must comprise of 23 characters or less,
3–576), where you can modify the selected datum.
and must not contain spaces. Only the following
Remove—Deletes the selected Datum from the characters are valid: A-Z (upper or lower case),
Datums list. 0-9, dash, and underscore.
Close—Closes the dialog and saves any changes Description—Specifies a description. This
you’ve made. description, not the code, appears in all list boxes,
so be sure it is specific and descriptive.
Ellipsoid—Specifies the currently selected ellipsoid.
Datum Conversion panel

Datum Conversion Technique—Lists the available
datum conversion techniques. The conversion
technique that you select determines which
options are available in the Conversion Parameters
group.
Conversion Parameters systems, must comprise of 23 characters or less,

Specifies the datum conversion parameters,
characters are valid: A-Z (upper or lower case),
depending on which conversion technique you
0-9, dash, and underscore.
selected.
Description—Specifies a description. This
Vector Component Deltas to WGS-84 in
description, not the code, appears in all list boxes,
Meters—Specifies the offset from WGS-84.
Rotation Angle from WGS-84 in Arc Seconds—Enter
information in these four boxes if you are using the
Bursa/Wolfe or Swiss datum conversion instead of Select—Displays the Select Ellipsoid dialog (page
the Molodensky Transformation method. 3–580), where you can select a datum for the
coordinate system.
Close—Closes the dialog and saves any changes
you’ve made. Define—Displays the Ellipsoid Manager dialog

(page 3–573), where you can create a new ellipsoid
or modify an existing one.
Datum Conversion panel

Define Datum Dialog
Datum Conversion Technique—Lists the available
Customize menu > Preferences > Preferences Settings datum conversion techniques. The conversion
dialog > GCS panel > Global Coordinate System group >
Define > Click Define or Modify. > Geodetic > Define > technique that you select determines which
Datum Manager > Define
options are available in the Conversion Parameters
group.
The Define Datum dialog enables you to create a
datum. Conversion Parameters
Interface Specifies the datum conversion parameters,

selected.

Bursa/Wolfe or Swiss datum conversion instead of
the Molodensky Transformation method.
OK—Closes the dialog and saves any changes
you’ve made.
Cancel—Closes the dialog without saving any
General panel changes you have made.
Code—Specifies a code. The code must be unique
Define Ellipsoid Dialog 571
Eccentricity—Specifies eccentricity as a real

Define Ellipsoid Dialog number.
Customize menu > Preferences > Preferences Settings OK—Closes the dialog and saves any changes
Define > Click Define or Modify. > Non-Geodetic > Define you’ve made.
> Ellipsoid Manger > Define
The Define Ellipsoid dialog enables you to create changes you have made.
an ellipsoid. Help—Displays this topic.
Interface
Define Global Coordinate System
Dialog
Define > Define
The Define Global Coordinate System dialog

enables you to define a new coordinate system.
Using this dialog requires advanced mapping
knowledge.
within a category and across all coordinate Interface
Ellipsoid Dimensions group

Calculation Method—Specifies a calculation
method, which determines which two of the four
options on the right of this group are enabled.
Equatorial Radius—Specifies the equatorial radius
in meters.
Polar Radius—Specifies the polar radius in meters.
General panel
Flattening Ratio—Specifies the denominator of the
flattening ratio. That is, if the flattening ration is Code—Specifies a code. The code must be unique
1/x, specifies x. within a category and across all coordinate
and must not contain spaces. Only the following False Origin group
Select Northing or Easting to specify the number
of linear units to add to either Y or X coordinates.
Units—Specifies the units to use in the coordinate
Northing—Specifies the number of linear units to
system.
add to all Y coordinates. If you chose an origin
Description—Specifies a description. This latitude that is south of the mapped area, this
description, not the code, appears in all list boxes, number is zero.
Easting—Specifies the number of linear units to
add to all X coordinates.
Coordinate System Type group
Geodetic—Specifies that the coordinate system is Projection Parameters group
geodetic and is based on datum.
Displays the parameters that you can set for the
Datum—Specifies the datum currently selected projection currently selected in the Projection list.
from the geodetic coordinate system. The contents of this group changes dynamically as
you select a different projection.
Select—Displays the Select Datum dialog (page
3–579), where you can select a datum for the OK—Closes the dialog and saves any changes
coordinate system. you’ve made.
Define—Displays the Datum Manager dialog (page Cancel—Closes the dialog without saving any
3–569), where you can create a new datum or changes you have made.
modify an existing one.
Non-geodetic—Specifies that the coordinate system
is non-geodetic and is based only on an ellipsoid.
Edit Category Dialog
Select—Displays the Select Ellipsoid dialog (page
3–580), where you can select a datum for the Customize menu > Preferences > Preferences Settings
coordinate system. dialog > GCS panel > Global Coordinate System group >
Define > Category Manager > Edit
Define—Displays the Ellipsoid Manager dialog
(page 3–573), where you can create a new ellipsoid The Edit Category dialog is used to modify
or modify an existing one. existing coordinate system categories.
Projection panel
Projection—Specifies the projection used for the
coordinate system. The most commonly used
projections are Transverse Mercator (for regions
that are longer than they are wide) and Lambert
Conformal Conic (for regions that are wider than
they are long).
Ellipsoid Manager Dialog 573
Interface
Ellipsoid Manager Dialog
Define > Click Define or Modify. > Non-Geodetic > Define
Interface
Category Name—Specifies the name of a coordinate

system category.
Coordinate Systems in Category—Lists the
coordinate systems that belong to the category
specified in the Category Name box. Ellipsoids—Lists the descriptions of existing
ellipsoids.
Add—Adds all coordinate systems that are selected
in the Coordinate Systems In Category list on the Define—Displays the Define Ellipsoid dialog (page
right to the category specified in the Category 3–571), where you can define a new ellipsoid.
Name box. Using this option requires advanced mapping
knowledge.
Remove—Removes all coordinate systems selected
in the Coordinate Systems In Category list on the Modify—Displays the Modify Ellipsoid dialog
left from the category specified in the Category (page 3–577), where you can modify the selected
Name box. ellipsoid.
Available Categories—Lists the available coordinate Remove—Deletes the selected Ellipsoid from the
system categories. The last entry, [Uncategorized Ellipsoids list.
coordinate systems], contains any coordinate Close—Closes the dialog and saves any changes
systems that have not been assigned to any you’ve made.
category.
coordinate systems in the category that is currently
selected in the Available Categories list.
you’ve made.
changes you have made.

Ellipsoid Properties Dialog you’ve made.
Customize menu > Preferences > Preferences Settings Help—Displays this topic.
Define > Click Define or Modify. > Non-Geodetic > Select
> Properties
Global Coordinate System
Interface Manager Dialog
dialog > GCS panel > Global Coordinate System group
> Define
The Global Coordinate System Manager is used to

add, edit, or delete a coordinate system.
Interface

description, not the code, appears in all list boxes, Category—Specifies a category from which to
so be sure it is specific and descriptive. select a coordinate system.
Category Manager—Displays the Coordinate
System Category Manager dialog (page 3–568),
Calculation Method—Specifies a calculation where you can create or modify coordinate system
method, which determines which two of the four categories.
Coordinate Systems in Category—Lists all
Equatorial Radius—Specifies the equatorial radius coordinate systems in the current category.
in meters.
Define—Displays the Define Global Coordinate
Polar Radius—Specifies the polar radius in meters. System dialog (page 3–571), where you can
define a new coordinate system. Using this dialog
Flattening Ratio—Specifies the denominator of the
requires advanced mapping knowledge.
flattening ratio. That is, if the flattening ration is
1/x, specifies x. Modify—Displays the Modify Global Coordinate
System dialog (page 3–577), where you can modify
Eccentricity—Specifies eccentricity as a real
the select coordinate system. Using this dialog
number.
requires advanced mapping knowledge.
Global Coordinate System Properties Dialog 575
Remove—Deletes the selected item from the Description—Specifies a description. This

coordinate system library. description, not the code, appears in all list boxes,
you’ve made.
Geodetic—Specifies that the coordinate system is
geodetic and is based on datum.
Global Coordinate System Datum—Specifies the datum currently selected

Properties Dialog from the geodetic coordinate system.
dialog > GCS panel > Global Coordinate System group > is non-geodetic and is based only on an ellipsoid.
Change > Properties
Interface Projection panel

that are longer than they are wide) and Lambert
Conformal Conic (for regions that are wider than
they are long).
False Origin group

Select Northing or Easting to specify the number
of linear units to add to either Y or X coordinates.
Northing—Specifies the number of linear units to
add to all Y coordinates. If you chose an origin
latitude that is south of the mapped area, this
number is zero.
Easting—Specifies the number of linear units to
General panel
within a category and across all coordinate Projection Parameters group
systems, must comprise of 23 characters or less, Displays the parameters that you can set for the
and must not contain spaces. Only the following projection currently selected in the Projection list.
characters are valid: A-Z (upper or lower case), The contents of this group changes dynamically as
0-9, dash, and underscore. you select a different projection.
Units—Specifies the units to use in the coordinate
system. you’ve made.
Help—Displays this topic. Ellipsoid—Specifies the currently selected ellipsoid.

3–580), where you can select a datum for the
Modify Datum Dialog coordinate system.
Customize menu > Preferences > Preferences Settings Define—Displays the Ellipsoid Manager dialog
Define > Click Define or Modify. > Geodetic > Define > (page 3–573), where you can create a new ellipsoid
Datum Manager > Modify
The Modify Datum dialog enables you to modify Datum Conversion panel
a selected datum. If you want to modify a
predefined datum, you must assign it a new code Datum Conversion Technique—Lists the available
before you can save it. You should also give it a datum conversion techniques. The conversion
unique description, because only the description technique that you select determines which
is displayed in the manager dialog. options are available in the Conversion Parameters
group.
knowledge. Conversion Parameters group
Specifies the datum conversion parameters,
Interface
selected.

Bursa/Wolfe or Swiss datum conversion instead of
the Molodensky Transformation method.
you’ve made.
General panel changes you have made.
Code—Specifies a code. The code must be unique Help—Displays this topic.
Modify Ellipsoid Dialog 577
Equatorial Radius—Specifies the equatorial radius

Modify Ellipsoid Dialog in meters.
Customize menu > Preferences > Preferences Settings Polar Radius—Specifies the polar radius in meters.
Define > Click Define or Modify. > Non-Geodetic > Define Flattening Ratio—Specifies the denominator of the
> Ellipsoid Manger > Define
flattening ratio. That is, if the flattening ration is
1/x, specifies x.
The Modify Ellipsoid dialog enables you to modify
a selected ellipsoid. If you want to modify a Eccentricity—Specifies eccentricity as a real
predefined ellipsoid, you must assign it a new code number.
before you can save it. You should also give it a
unique description, because only the description
you’ve made.
is displayed in the manager dialog.
knowledge.
Interface
Modify Global Coordinate System

Dialog
Define > Modify
The Modify Global Coordinate System dialog

enables you to modify a selected coordinate
system. Using this dialog requires advanced
Code—Specifies a code. The code must be unique mapping knowledge.
If you want to modify a predefined coordinate
system, you must assign it a new code before
you can save it. You should also give it a unique
description, because only the description is
displayed in the manager dialog.

Calculation Method—Specifies a calculation
method, which determines which two of the four
Interface Define—Displays the Datum Manager dialog (page

3–569), where you can create a new datum or
modify an existing one.
is non-geodetic and is based only on an ellipsoid.
3–580), where you can select a datum for the
coordinate system.
Define—Displays the Ellipsoid Manager dialog
(page 3–573), where you can create a new ellipsoid
Projection panel
General panel that are longer than they are wide) and Lambert
Code—Specifies a code. The code must be unique Conformal Conic (for regions that are wider than
within a category and across all coordinate they are long).
and must not contain spaces. Only the following False Origin group
characters are valid: A-Z (upper or lower case), Select Northing or Easting to specify the number
0-9, dash, and underscore. of linear units to add to either Y or X coordinates.
Units—Specifies the units to use in the coordinate Northing—Specifies the number of linear units to
system. add to all Y coordinates. If you chose an origin
Description—Specifies a description. This latitude that is south of the mapped area, this
description, not the code, appears in all list boxes, number is zero.
so be sure it is specific and descriptive. Easting—Specifies the number of linear units to
Geodetic—Specifies that the coordinate system is Projection Parameters group
geodetic and is based on datum. Displays the parameters that you can set for the
Datum—Specifies the datum currently selected projection currently selected in the Projection list.
from the geodetic coordinate system. The contents of this group changes dynamically as
you select a different projection.
Select—Displays the Select Datum dialog (page
3–579), where you can select a datum for the OK—Closes the dialog and saves any changes
coordinate system. you’ve made.
New Category Dialog 579
Help—Displays this topic. systems that have not been assigned to any
category.
New Category Dialog coordinate systems in the category that is currently
Customize menu > Preferences > Preferences Settings selected in the Available Categories list.
Define > Category Manager > New OK—Closes the dialog and saves any changes
you’ve made.
The New Category dialog is used to create
coordinate system categories.
Interface Help—Displays this topic.
Select Datum Dialog

Define > Click Define or Modify. > Geodetic > Select
Interface
Category Name—Specifies the name of a coordinate

system category.
coordinate systems that belong to the category
specified in the Category Name box.
Add—Adds all coordinate systems that are selected
Datums—Lists the descriptions of existing datums.
in the Coordinate Systems In Category list on the
right to the category specified in the Category OK—Closes the dialog and saves any changes
Name box. you’ve made.
Remove—Removes all coordinate systems selected Cancel—Closes the dialog without saving any
in the Coordinate Systems In Category list on the changes you have made.
left from the category specified in the Category
Properties—Displays the Datum Properties dialog
Name box.
(page 3–569).
Available Categories—Lists the available coordinate
system categories. The last entry, [Uncategorized
coordinate systems], contains any coordinate
Select Ellipsoid Dialog Select Global Coordinate System

Dialog
Define > Click Define or Modify. > Non-Geodetic > Select Customize menu > Preferences > Preferences Settings
dialog > GCS panel > Global Coordinate System group
> Change
Interface
Interface
Ellipsoids—Lists the descriptions of existing

ellipsoids.
OK—Closes the dialog and saves any changes Category—Specifies a category from which to
you’ve made. select a coordinate system.
Cancel—Closes the dialog without saving any Coordinate Systems in Category—Lists all
changes you have made. coordinate systems in the current category.
Properties—Displays the Ellipsoid Properties Ok—Closes the dialog and saves any changes
dialog (page 3–574). you’ve made.
Help—Displays this topic. Cancel—Closes the dialog without saving any

Properties—Displays the Global Coordinate
System Properties dialog (page 3–575) which
displays the properties of the selected item.
Units Setup Dialog 581
3. Select from among the choices on the
Units Setup drop-down list.

• If you want feet, choose how the inches will
appear, as fractions or decimal.
Units Setup Dialog • If you choose Fractional Feet or Feet w/
Customize menu > Units Setup > Units Setup dialog
Fractional Inches, choose the fraction on the
drop-down list to the right.
The Units Setup dialog establishes the unit display
To enter fractions in numeric fields:
method, giving you the choice between generic
units and standard units (feet and inches, or • When you enter fractions in numeric fields,
metric). You can also create custom units, which they are converted to the correct units. For
are used whenever you create an object. example, if units are set to Feet w/ Decimal
Inches, and Default Units is set to Feet, type
The units that you set up are used to measure 37/45 and press ENTER for the result 0’9.867",
geometry in your scene. In addition to these units, or 37/45’.
the software also uses system units as an internal
mechanism. System units should only be changed To enter a fraction and a units specifier, place the
before you create your scene or import a unitless specifier after the divisor. For example, type 17/5’,
file. Do not change the system unit in an existing but not 17’/5.
scene.
To convert between unit types:
You can also set the lighting units using this dialog.
• You can convert between unit types by entering
any valid unit specifier, along with the number,
System vs. Display Units
and then pressing ENTER.
It is important to note the distinction between
The number is converted to the current unit
System and Display units. Display units only
display type. For example, if units are set
affect how geometry is displayed in the viewports.
to Meters, type 1/2 to get the result 0.5M.
System units determine the actual scale of
However, if you type 1/2’ or 6" the result is
geometry. For example, if you import a DXF file
0.152M.
(unitless) containing a 1 x 1 x 1 Box, Autodesk VIZ
may import the box’s dimensions in inches or
miles, depending on the System unit. This can
have a significant impact on your scene, which
is why you should always set up the system unit
before you import or create geometry.
Procedures
To change units to feet and inches:
1. In Units Setup, choose US Standard.
2. For Default Units, choose Feet or Inches.
Interface The US Standards are as follows:

• Fractional Inches
• Decimal Inches
• Fractional Feet
• Decimal Feet
• Feet w/ Fractional Inches
• Feet w/ Decimal Inches
For the last two items, you can specify which unit
is assumed when you enter a value in a numeric
field and press ENTER without including a units
specifier, such as ’ for feet or " for inches.
For example, if Feet is the default, typing 5
followed by ENTER results in 5 feet. Typing 5"
followed by ENTER results in 0’5". If Inches is the
default, typing 5 followed by ENTER results in
0’5". Typing 5’ followed by ENTER results in 5 feet.
Custom—Fill in the fields to define a custom unit
of measurement.
Generic—This is the default option (one inch) and
System Unit Setup—Click to display the System is equal to the system unit used by the software.
Unit Setup dialog (page 3–582) and change the
system unit scale. Lighting Units group
Warning: You should only change the system unit value The Lighting Units group lets you choose
before importing or creating geometry. Do not change whether light values are displayed in American or
the system unit in an existing scene. International units.
Display Unit Scale group

Click one of the option buttons (Metric, US System Unit Setup Dialog
Standard, Custom, or Generic) to activate its
Customize > Units Setup > Click System Unit Setup.
settings.
Metric—Click the list and choose a metric unit: This dialog appears when you click System Unit
Millimeters, Centimeters, Meters, Kilometers Setup in the Units Setup dialog (page 3–581).
US Standard—Click the list and choose a US Warning: You should only change the system unit value
Standard unit. If you choose a fractional unit, before importing or creating geometry. Do not change
the adjoining list activates to let you select the the system unit in an existing scene.
fractional component. The decimal units require Because of the nature of digital floating-point
no additional specification. calculations, distances that are extremely large
System Unit Setup Dialog 583
or extremely small can cause round-off error. Interface

Symptoms of round-off error include trouble
navigating (zooming and panning become too fast
or too slow), unwanted viewport clipping, and
unexpected flipping of normals. Here are some
general guidelines to avoid these problems:
• Make sure your scene is roughly centered
around the origin (0,0,0).
Round-off error increases at large distances
from the origin.
• Make sure no significant detail in the scene is
smaller than one generic Autodesk VIZ unit.
Note: The Rescale World Units utility (page 2–666)
alters the scale of world units throughout the entire
scene, or selected objects.
Unit and Measurement fields—Change the scale
Procedure of the Autodesk VIZ unit. The system unit is the
To change the system unit: standard measurement throughout Autodesk VIZ.
You should only change the system unit value
1. Choose Customize menu > Units Setup.
before importing or creating geometry.
2. Click System Unit Setup.
Respect System Units in Files—When on, if you
3. Change the System Unit Scale value, and click
open, merge, XRef, or drag and drop geometry
OK. from file that has different system unit settings, a
The system unit is immediately reset. This File Load: Units Mismatch dialog (page 3–584)
setting remains in effect until you change it. is displayed. This dialog gives you the choice
of rescaling the geometry to match the current
system units, or adopting the units used in the file.
When off, the dialog is not displayed, and the file
is assumed to have the same units as the current
Autodesk VIZ session. Default=on.
Origin Slider, Distance from Origin, Accuracy

These controls provide a system unit calculator to
help you determine the unit scale for your project.
The resolution of measurement diminishes as
the distance to the origin of space increases, so
you need to consider space granularity when you
choose a scale for your project. If you’re modeling
an island, for example, this calculator can help you
determine the smallest object you should model
on the island. In other words, don’t use a unit scale
of millimeters if you plan on modeling an island

that’s many miles across. File Load: Units Mismatch Dialog
When you use the slider or the text field to enter a Change the system unit scale. > Open, Merge, XRef, or
drag geometry from a file with a different unit scale.
distance from the origin, the Resulting Accuracy
changes to show what the round-off error will be
This dialog appears when you open or merge a
at that distance.
file that has been saved with system unit settings
These controls don’t change the unit settings in that are different from those of your current
Autodesk VIZ. They don’t reflect the extents of Autodesk VIZ session. The default system unit
the current scene, either. setting is Inches.
Origin Slider—Move the slider for interactive If you open a file with the system unit set to meters,
feedback of distance and accuracy. Right-click the for example, you will see this dialog.
scale to reset the slider to 0. Dragging the slider
When this happens, you have two options:
displays the last slider position as a small square
on the scale markings. • Rescale the File Objects to the System Unit
Scale: You can choose to rescale the objects
The slider covers distances from 0 to the maximum
from the incoming file to match the current
distance that’s accurate to one system unit.
system unit. This changes the size of the
Distance from Origin—Enter the maximum distance incoming geometry
you want to use in your project to determine the • Adopt the File’s Unit Scale: This changes the
maximum accuracy, which is displayed in the system unit in your Autodesk VIZ installation
Accuracy field. Values consider current settings to match that of the incoming file. This setting
for system scale and unit. will persist between the current and future
Note: When you type a distance, you must press Autodesk VIZ sessions until you reset your
ENTER to update the Resulting Accuracy field. system unit (page 3–582). This is the default
Pressing TAB simply moves focus to Resulting option.
Accuracy, without doing the calculation. Choosing File > Reset will not reset your
Resulting Accuracy—Enter the minimum resolution system unit. You must either change it using
you will use to determine the maximum size or Customize > Units Setup > System Unit Setup,
distance that is most practical. Values consider or manually edit your 3dsviz.ini file.
current settings for system scale and unit. Note: This dialog appears only if Respect System
For example, if units are in feet and decimal Units In Files is turned on in the System Unit Setup
inches in Customize menu > Units Setup, and you dialog (page 3–582).
type (1’, 1 foot) in the Accuracy field, a value of
22369620’0.0" is displayed in the Distance From
Origin field. If you move an object that’s one foot
across, at this distance away from the origin of
space, a round-off error will occur, and the shape
of the object will be compromised.
Viewport Configuration 585
Interface this option. If this occurs, choose the Rescale

option rather than the Adopt option.
Viewport Configuration
Customize menu > Viewport Configuration
Right-click any viewport label. > Configure
The Viewport Configuration command displays

the Viewport Configuration dialog (page 3–585).
Rescale the File Objects to the System Unit Scale— You use controls on this dialog to set options for
Objects from the file are rescaled to the current viewport control.
session’s system unit scale. All the configuration options are saved with the
Note: Many features depend on the scale of the .max file. To configure startup settings for your
scene, so choosing to rescale the file objects can file, you can save a vizstart.max file. If this file
have unpredictable results, particularly in scenes exists, Autodesk VIZ uses it to determine the
using radiosity. Reset and recalculate radiosity if viewport configuration and settings when the
you have rescaled the file objects. software is loaded or reset.
Tip: Use the Zoom Extents All button if the
geometry is no longer visible in the viewport after
rescaling.
Viewport Configuration Dialog
Adopt the File’s Unit Scale—The system unit scale Customize menu > Viewport Configuration
is changed to match that of the other file. This is Right-click any viewport label. > Configure
the default option.
Choosing Adopt The File’s Unit Scale adds Viewport configuration options are available
two settings to your 3dsviz.ini file: UnitType= in a series of tabbed panels on the Viewport
and UnitScale=. For this reason, this change Configuration dialog:
is persistent between sessions until you reset it Rendering Method (page 3–586)
manually.
Viewport Layout (page 3–588)
To get back the default System Unit Scale, you can
edit your 3dsviz.ini file and remove those settings; Safe Frames (page 3–589)
or go to Customize > Units Setup > System Unit Adaptive Degradation Options (page 3–591)
Setup and change the units back to the default
Regions (page 3–592)
scale, Inches.
Tip: Objects with a UVW Unwrap may lose their
texture coordinate information when you choose
Interface
Rendering Method
Customize menu > Viewport Configuration > Viewport
Configuration dialog > Rendering Method tab
Right-click a viewport label. > Configure > Viewport

Configuration dialog > Rendering Method tab
You set the rendering method for either the current

viewport or all viewports on the Rendering
Method panel of the Viewport Configuration
dialog.
Procedures
To set the viewport rendering method:
1. Choose Customize menu > Configure > When you open this dialog, the settings reflect the
Viewport Configuration dialog > Rendering current viewport settings.
Method tab.
2. Click to choose the desired rendering level and Rendering Level group
any options available for that level. Determines how the software displays objects.
3. Choose how the rendering level is to be applied
Smooth+Highlights—Renders objects with
to viewports:
smooth shading and displays specular highlights.
• Active Viewport Only applies the rendering Press F3 to toggle between Wireframe and
method to the active viewport. This choice Smooth+Highlights.
is the default.
Smooth—Renders objects with smooth shading
• All Viewports applies the rendering method only.
to all configured viewports.
Facets+Highlights—Renders objects with flat
• All But Active applies the rendering method
shading and displays specular highlights.
to all viewports except the active one.
Facets—Renders polygons as flat surfaces, shaded
Tip: This option lets you work in full detail in
the current view and easily set other views but with no smoothing or highlights.
to Wireframe or Bounding Box for quicker Flat—Renders each polygon in its raw, unshaded
interactive display. diffuse color, disregarding any contribution from
ambient lighting or light sources. This rendering
To enter an FOV value in a perspective view: method is useful when it’s more important to see
1. Activate a viewport with a Perspective view. each polygon than to see its shading. It’s also a
2. Right-click the viewport label and choose
good way to check the results of bitmaps created
Configure to display the Viewport with Render to Texture (page 2–1437).
Configuration dialog > Rendering Method tab. Lit Wireframes—Renders objects as wireframes
3. Enter an angle in the Field Of View field. with flat shading.
Rendering Method 587
Wireframe—Draws objects as wireframes with Rendering Options group

no shading applied. Press F3 to toggle between
These check boxes modify either the shading
Wireframe and Smooth+Highlights.
modes or the wireframe modes. They refer to the
Bounding Box—Draws objects as bounding viewport renderer (page 3–745) only, not to the
boxes with no shading applied. A bounding box scanline renderer (page 3–726).
(page 3–663) is defined as the smallest box that Disable View—Disables the Apply To viewport
completely encloses an object.
selection. A disabled viewport behaves like any
Edged Faces—Available only when the current other viewport while active. However, when you
viewport is in a shaded mode, such as Smooth, change the scene in another viewport, the view
Smooth+Highlights, Facets+Highlights, or Facets. in the disabled viewport does not change until
When Edged Faces is on in these modes, the you next activate it. Use this function to speed up
wireframe edges of objects appear along with the screen redraws when you are working on complex
shaded surfaces. This is helpful for editing meshes geometry.
in a shaded display. Press F4 to toggle Edged Faces
Disable Textures—Select to turn off display of
display.
texture maps (page 3–697) assigned to objects.
Edges are displayed using the object wireframe Turn off to show the maps assigned to objects.
color, while surfaces use material colors (if
Texture Correction—Redraws the viewport using
a material is assigned). This lets you create
pixel interpolation (perspective-corrected).
contrasting colors between the shaded surfaces
The redrawn image remains until you force the
and the wireframe edges. You can switch these
viewport to redraw for any reason. This command
around in the Display Color rollout (page 1–49) in
has an effect only when the viewport is shaded and
the Display panel.
at least one object’s map is displayed.
Transparency group Z-Buffer Wireframe Objects—Draws the wires
ordered according to depth in the scene. Otherwise
None—Objects with transparency assigned appear
wires may be drawn out of order to speed the
completely opaque, regardless of the transparency
viewport display. This option is generally needed
settings.
only when sub-object selections are "hidden" by
Simple—Objects with transparency assigned are lines drawn out of order. For example, you select
displayed with a “screen door” transparency effect. the front edges of a box, but they don’t appear
highlighted in red, because the white lines from
Best—Objects with transparency assigned are
the rear may get drawn last. Activate this only if
displayed with a two-pass transparency effect.
you find that selections are obscured or if you need
This option is smoother and closer to rendered the viewport redrawn from back to front.
transparency effects.
Force 2-Sided—Set to render both sides of faces.
Apply To group See 2-Sided (page 3–649). Turn off to render
only faces with normals (page 3–704) toward the
Applies the current settings to the active viewport viewer. Usually, you’ll want to keep this option off
only, to all viewports, or to all the viewports except to speed redraw time. You might want to turn it on
the active one. if you need to see the inside as well as the outside of
objects, or if you’ve imported complex geometry determine where the clipping will occur. Tick
in which the face normals are not properly unified. marks correspond to the extents of the viewport,
the lower tick is the near clipping plane, and the
Default Lighting—Turn on to use default lighting.
upper tick sets the far clipping plane. This does not
Turn off to use the lights created in the scene. If
affect the rendering to output, only the viewport
no lights exist in the scene, the default lighting is
display.
used automatically, even when this check box is
off. Default=on. Fast View Nth Faces—When turned on, speeds
screen redraw by displaying fewer faces. The Nth
Sometimes the lighting you create in the scene
Faces spinner sets the number of faces that are
makes the objects difficult to see in the viewport.
displayed when the Fast View mode is active. For
The default lighting displays the objects under
example, a setting of 3 displays every third face.
an even illumination. You can select either 1 or
2 lights (default).
Perspective User View group
• 1 Light—Provides an over-the-shoulder light
Field Of View—Sets the field of view angle for a
with 20% faster redraws at the expense of less
Perspective viewport. This spinner is not available
natural illumination.
when any other viewport type is active. You can
• 2 Light—Provides more natural illumination, change the Camera field of view in the Modify
but slower viewport performance. panel.
Shade Selected Faces—Faces selected in the
viewport are displayed in a red semitransparent
state when this is turned on, letting you see the Viewport Layout
faces you’ve selected when the Shading Mode is Customize menu > Viewport Configuration > Viewport
Smooth+Highlighted. Press F2 to toggle Shade Configuration dialog > Layout tab
Selected Faces.
Configuration dialog > Layout tab
Use Selection Brackets—Toggles the display of
white selection brackets in the viewport display.
You specify the division method of viewports, and
Turn this off in complex scenes when the display of
assign specific types of views to each viewport on
multiple selection brackets obscures the required
the Layout panel of the Viewport Configuration
view of selected objects.
dialog.
Display Selected with Edged Faces—Toggles the
The layout is saved with the .max file, so you can
display of highlighted edges for selected objects
store different layouts in separate scene files. Load
when the viewport is in a shaded mode, such as
the file you want, then merge in the contents of
Smooth, Smooth+Highlights, Facets+Highlights,
other files to maintain the layout.
or Facets. When on in these modes, the wireframe
edges of selected objects appear along with the Tip: Through MAXScript, there are commands
shaded surfaces. This is helpful when selecting to set the current layout to any of the 14 available
multiple objects or small objects. setups. You can also activate any viewport and set
the view type. This enables you to create macros
Viewport Clipping—When turned on, interactively
and custom user interface buttons to set any layout
sets a near and far range for viewport display. Two
you choose.
arrows at the edge of the viewport allow you to
Safe Frames 589
Interface
Safe Frames
Customize menu > Viewport Configuration > Viewport
Configuration dialog > Safe Frames tab

Configuration dialog > Safe Frames tab
Keyboard > SHIFT+F
The Layout panel is arranged in two general

areas. At the top are icons representing the
possible division methods. Below these is a screen
representation of the currently selected layout.
Click an icon to select the division method, which
appears in the larger screen representation.
To assign specific views, click the viewport in the
screen representation. Choose a viewport type
Safe frame borders show which portions of a viewport will
from the menu that appears.
be visible when rendered to video.
Note: After choosing a new viewport You toggle the status of the video safe frame
layout, click the Min/Max Toggle to show the (page 3–744) for the current viewport and adjust
multi-viewport display. Changes you make to the its parameters on the Safe Frames panel of the
viewport layout might not be apparent when you Viewport Configuration dialog.
have a single, maximized viewport.
Video Safe Frame displays a series of concentric
rectangular frames in the viewport. Use Safe
Frame to see the proportions of your rendered
output within the viewport. This is particularly
useful when you are rendering to output that
doesn’t match the viewport’s aspect ratio.
The primary purpose of Safe Frames is to suggest
safe areas for work intended for display on TV
monitors. It is likely that the bezel will cover about
10% of the image so you don’t want important
objects or action to fall outside the Action Safe
area. High contrast titles falling outside the Title
Safe area are likely to bleed or be obstructed by the
bezel of the TV screen.
When Safe Frames are displayed in the viewport Live Area(yellow)—The area that will actually be
and a bitmap image is assigned as a viewport rendered, regardless of the size or aspect ratio of
background using either the Match Viewport the viewport.
or Match Rendering Output (page 1–36)
Action Safe(green)—The area in which it’s safe to
options, the image is confined to the Live area
include your rendered action. The Lock check box
of the safe frames and matches the rendered
lets you lock the aspect ratio of the Action frame.
background. This assumes that the same bitmap
When Lock is turned on, use the Both spinner to
is assigned to the Environment background using
set the percentage of the live area that’s trimmed
Environment/Screen coordinates.
within the safe frame. When Lock is off, you can
You can toggle the status of safe frames (page use the Horizontal and Vertical spinners to set
3–744) on or off for the current viewport, and these parameters independently. Default=10%.
use the Safe Frames panel of the Viewport
Title Safe(cyan)—The area where it’s safe to include
Configuration dialog to adjust the parameters.
titles or other information. When used correctly,
When Safe Frame is displayed in the viewport this is smaller than the Action frame. The Lock
and a bitmap image is assigned as a background, check box lets you lock the aspect ratio of the
and Show Background is turned on, the image is Title frame. When Lock is turned on, use the
confined to the Live area of the safe frame. If you Both spinner to set the percentage size of the title
are using a background image in your rendering, frame relative to the action area. When Lock is
make sure your rendering output size matches the turned off, you can use the Horizontal and Vertical
background image size. This will avoid distortion. spinners to set these parameters independently.
Default=20% of Live Area.
Interface
User Safe—Displays an additional safe frame that
you can use for any custom requirements. The
Lock check box lets you lock the aspect ratio of
the User frame. When Lock is turned on, use the
Both spinner to set the percentage size of the user
frame relative to the action area. When Lock is
turned off, you can use the Horizontal and Vertical
spinners to set these parameters independently.
Default=20% of Live Area.
12-Field Grid—Displays a grid of cells (or fields) in
the viewport. In this case, "fields" are cells in the
grid, and not scanline fields.
The "12-field grid" is a method used by video
directors to refer to specific areas of the screen.
Setup group A director might ask you to move an object two
fields to the left and four fields down. The 12-field
The Safe Frames panel contains settings for the
grid is a reference for this type of placement.
following frame types:
4 x 3/12 x 9—Lets you choose between two matrices
of either 12 or 108 cells.
Adaptive Degradation Options 591
Application group Degrade Parameters group

Show Safe Frames in Active View—Toggles the Maintain FPS—Lets you set the frame rate (page
frame displays on or off for the current viewport. 3–680) in frames per second that adaptive display
This option is duplicated by the Show Safe Frame will attempt to maintain.
item in the viewport right-click menu.
Reset on Mouse Up—Resets the rendering level as
the mouse is released. If turned on, the program
Ungrouped
tries rendering levels, selected in the degradation
Default Settings—Resets all values to the default settings, to achieve optimal quality while still
values. maintaining the playback rate. If turned off, the
rendering level immediately drops to the previous
minimum.
Adaptive Degradation Options
Show rebuild cursor—Displays a cursor to show
Customize menu > Viewport Configuration > Viewport when the viewport rendering level is being
Configuration dialog > Adaptive Degradation tab
recalculated.
Configuration dialog > Adaptive Degradation tab Interrupt Settings group
Update Time—Sets the interval between updates
You adjust the adaptive viewport redraw methods
on the Adaptive Degradation panel of the during viewport rendering. At each interval, a
Viewport Configuration dialog. The adaptive new section of the rendering is drawn on screen.
degradation (page 3–652) settings are saved with If set to 0, nothing is drawn until the rendering is
your .max file. complete.
Interrupt Time—Sets the interval between times
Interface when the program checks for a mouse-down event
during viewport rendering. Small values free the
mouse more quickly, so you can use the mouse
elsewhere without waiting for it to "wake up."
To override adaptive degradation, turn off the
Degradation Override button on the prompt
line. Press O (letter "o") to turn off adaptive
degradation, and press O (letter "o") again to turn
it back on.
This is handy when you’re adjusting lights and
General Degradation and Active Degradation want to see their effect, real time, in a shaded
groups viewport. Or you might be adjusting the camera
Select the boxes in each column to indicate the and need to see complex geometry exactly as it is.
rendering modes to step through during necessary
degradation. Those selected in the General
Degradation column affect all inactive viewports,
while those selected in the Active Degradation
column affect only the active viewport.
Procedure
Regions To use the virtual viewport:
Customize menu > Viewport Configuration > Viewport 1. Make sure you’re using an OpenGL driver
Configuration dialog > Regions tab
(page 3–558) for your display.
Configuration dialog > Regions tab 2. Activate the viewport to convert to a virtual
viewport (typically a camera viewport that is
On the Regions panel of the Viewport displaying a bitmap background).
Configuration dialog, you specify default selection 3. Choose Customize menu > Viewport
rectangle sizes for the Blowup Region and the Sub Configuration and click the Regions tab.
Region, and the parameters for setting up a virtual 4. Click Use Virtual Viewport. A reduced image
viewport. of the viewport displays in the dialog, along
The rectangular selection region appears when with a white zoom rectangle representing the
you render with either Blowup or Region selected virtual viewport.
in the Render Type List (page 2–1326). You can 5. Use the Zoom, X Offset, and Y Offset spinners
change the size of the region by dragging its to adjust the size and position of the virtual
handles. window, or drag the white window anywhere
The Virtual Viewport options let you zoom in on within the image.
a sub-region of the current viewport, creating a 6. Click OK.
“virtual viewport” where you can perform any The viewport is converted to a virtual viewport
standard navigation, but in a zoomed-in area. and displays the area of viewport represented
This function works only when you’re using an by the white rectangle. All viewport navigation
OpenGL driver. If you’re using the software driver, methods work the same, except that you’re
these controls are disabled. seeing only the zoomed portion of the viewport.
You can use the virtual viewport on any type of 7. To close the virtual viewport, go to Viewport
viewport, but it’s primarily designed for zooming Configuration > Region Tab and turn off
in on camera views. This lets you perform close-up virtual viewport. You can get to the Viewport
work, such as tracing, without distorting the configuration menu by right-clicking any of
relationship between the geometry and a bitmap the viewport navigation tools or by going to
background. (See Lock Zoom/Pan in Viewport Customize menu > Viewport Configuration.
Background (page 1–36) for similar functionality
in orthographic views.)
Because you’re actually zooming the viewport
image itself, the viewport label might be hidden
from display, but you can still right-click in the
upper-left area of the viewport to display the
menu. This takes advantage of zooming features in
the Open GL driver so that the software does not
compute the display change internally.
Strokes 593
Interface keyboard shortcuts because they can select an

object and apply a command to it.
For example, you can assign Arc Rotate to a
downward stroke. When you draw this stroke,
the software changes to Arc Rotate mode. You
can assign a circular stroke to the Hide Selected
command so that it both selects the objects and
then hides all the objects in the bounding extents
of the stroke pattern.
You can use strokes in two ways:
• If you have a middle mouse button, you can
define and use strokes by specifying the Stroke
option for the middle mouse button in the
The Regions panel contains spinners for setting Viewports tab (page 3–551) of the Customize
the four corners of the region (in pixels), and the menu > Preferences dialog.
following options. • To define and use strokes with the left mouse
button, use the Strokes utility (page 3–599) and
Virtual Viewport turn on Draw Strokes.
Use Virtual Viewport—Enables the virtual
viewport. A reduced image of the viewport Using the Keyboard with Strokes
appears in the dialog, along with a white zoom The same stroke pattern can perform four
rectangle representing the virtual viewport. different functions by holding the SHIFT, ALT, or
Zoom, X Offset, and Y Offset—Adjusts the size and SHIFT+ALT keys when drawing the stroke:
position of the virtual window. You can also drag • Drawing a vertical line is one type of stroke.
the white window anywhere within the image. • Holding SHIFT while drawing the same line is
another type.
• Holding ALT while drawing it is a third type.
• Holding both SHIFT and ALT while drawing
Entering Commands by the line is a fourth type.
Using Mouse Strokes Holding CTRL while drawing a stroke indicates
that you want to define a new stroke, rather
than use an existing stroke.
Strokes Note: Changes you make to the set of strokes
are saved with Autodesk VIZ and persist from
dialog > Viewports tab > Mouse Control group > Stroke session to session.
Strokes are a way to assign command shortcuts See also

to mouse or tablet drag patterns. For many Defining Strokes (page 3–595)
operations, strokes are more convenient than
Reviewing and Editing Strokes (page 3–597) 2. Hold down CTRL, and drag from top to bottom
and then back up to the starting point.
Stroke Preferences Dialog (page 3–598)
3. The Define Stroke dialog appears, and the
Strokes Utility (page 3–599) name of the stroke is "HKKH."
Procedures Note: Depending on how you drew your stroke

sequence, it might be defined by different
To define and use strokes with the middle mouse
letters. This is fine, as long as you use the same
button:
sequence to enact the stroke after you have
1. Choose Customize menu > Preferences > finished defining it.
Preference Settings dialog > Viewports tab.
If an alert appears, you’ve either drawn the
2. In the Mouse Control group, turn on Stroke. stroke incorrectly, or this stroke has already
You must turn on this option for all Stroke been assigned. Continue with the following
functions to work with the middle mouse steps to replace the defined stroke.
button. 4. Choose the Properties command from the
3. Hold the middle mouse button and drag in a Command To Execute list.
viewport to make a stroke. If the stroke hasn’t 5. The option enabled is Single Object At Start Of
been defined, a dialog appears where you can Stroke, because that’s the logical choice for the
click Define to define the stroke. If the stroke Object Properties command.
has already been defined, the corresponding
6. Click OK.
function is executed.
7. Drag vertically down and back up over any
See Defining Strokes (page 3–595) for
object in the scene to display the Object
information on defining and editing strokes.
Properties dialog for that object.
To define and use strokes with the left mouse button:
Example: To assign Hide Selection to a stroke:
1. Choose Utilities panel > Utilities rollout >
1. Use one of the first two procedures to activate
More button > Utilities dialog > Strokes.
strokes.
2. Turn on Draw Strokes.
2. Hold down CTRL, and drag vertically from top
3. Hold the left mouse button and drag in a to bottom.
viewport to make a stroke. If the stroke hasn’t
3. In the alert that appears, click Yes to redefine
been defined, a dialog appears where you can
the stroke and display the Define Stroke dialog.
click Define to define the stroke. If the stroke
has already been defined, the corresponding The name of this stroke is HK.
function is executed. Note: Depending on how you drew your stroke
See Defining Strokes (page 3–595) for sequence, it might be defined by different
information on defining and editing strokes. letters. This is fine, as long as you use the same
sequence to enact the stroke after you have
Example: To assign Object Properties to a stroke: finished defining it.
1. Use one of the first two procedures to activate 4. Choose Hide Selection from the list.
strokes. 5. Choose All Objects in the Selection Set.
Defining Strokes 595
6. Click OK. of the grid are assigned unique letters. Where the
7. Load a scene containing several objects, and stroke crosses a segment, the letter associated with
select two or more objects. that segment is added to the stroke name. Thus,
the direction and the shape of the stroke matter,
8. Drag vertically from top to bottom in the
but the size of the stroke has no effect.
viewport.
The stroke is always centered within the grid. If
The selected objects are all hidden.
you draw a stroke vertically from top to bottom,
the stroke is named HK because it crossed the
segments labeled H and K, in that order. Had you
Defining Strokes
drawn the stroke from bottom to top, it would
Hold down CTRL and the middle mouse button and drag have been named KH.
in a viewport to create the shape of an unused stroke. >
Define Strokes dialog Tip: You can define more than one stroke for the
same command. For example, you might assign
Hold down the middle mouse button alone or with SHIFT,
ALT, or both, and drag in a viewport to create the shape of a U-shape stroke to Undo, but find that you
an unused stroke. > Define > Define Strokes dialog sometimes draw a J shape when attempting the U.
Utilities panel > Utilities rollout > More button > Utilities By assigning both the U and the J strokes to Undo,
dialog > Strokes > Draw Strokes > Hold down the left you don’t have to worry about missing that stroke.
mouse button alone or with SHIFT, ALT, or both, and drag
in a viewport to create the shape of an unused stroke. > The Command Should Operate On group of
Define > Define Strokes dialog
options is important. If the command applies to
You define a stroke by creating the stroke in a selections, leave this option set to Single Object at
viewport, then choosing the command that the Start of Stroke, or change it to All Objects in the
stroke defines. The next time you perform the Selection Set. However, if the command doesn’t
stroke, the command will be executed. You can apply to selections, such as Arc Rotate or Activate
define strokes to work in conjunction with the Grid Object, change it to No Objects Just Execute
SHIFT key, the ALT key, or both SHIFT and ALT. the Command.
You can define strokes with either the left or middle See also
mouse button. If you want to use your middle
mouse button to define and use strokes, you must Reviewing and Editing Strokes (page 3–597)
first turn on Customize menu > Preferences > Stroke Preferences Dialog (page 3–598)
Preference Settings dialog > Viewports tab (page
Viewport Preferences (page 3–551)
3–551) > Mouse Control group > Stroke. To define
and use strokes with the left mouse button, choose Strokes Utility (page 3–599)
Utilities panel > Utilities rollout > More button
> Utilities dialog > Strokes (page 3–599) > Draw Procedures
Strokes, then draw the strokes. To define a stroke using the CTRL key:
In the Define Stroke dialog, you can see how the 1. Hold down the CTRL key while drawing a
strokes are analyzed by examining the grid under stroke.
Stroke to Define. When you complete the drawing
2. If the stroke already exists, a message asks you
of a stroke, a nine-square grid is centered around
if you want to replace the old stroke. Click Yes.
the stroke and fit to its extents. The inner segments
3. In the Define Stroke dialog that appears, assign command. Depending on the type of command
the stroke. you choose in this list, various options become
available in the Command Should Operate On
To define a stroke by example: group.
1. Draw a stroke that doesn’t exist. Currently assigned to stroke—Displays the name
2. A Stroke Not Found message appears. Click of the stroke currently assigned to the selected
Define. command. If you pressed SHIFT or ALT when the
3. In the Define Stroke dialog that appears, assign stroke was drawn, they’re added to the name. For
the stroke. example: "SHIFT + HK" or "ALT + HK."
Command Should Operate On group

Interface
Provides a number of options that specify which
objects (if any) are affected by the command.
These options are enabled or disabled depending
on the type of command you’ve selected in the list
window.
No Objects Just Execute the Command—This text is
displayed when you choose a command that’s not
specific to selected objects (such as Arc Rotate).
When you select a command that can be applied
to selected objects, the following options become
enabled:
Single Object at Start of Stroke—Causes the
command to act on the object beneath the first
stroke point in the active viewport.
All Objects in the Selection Set—Causes the
Stroke to Define group
command to act on all objects in the current
Displays the name of the stroke and displays selection set.
the stroke you just drew as a series of white Xs
connected by white lines. A green X represents Multiple Objects Based On The Stroke Boundary
the start of the stroke and a red X represents the group
end. The labeled grid shows you how it recognizes Choosing one of the options in this group lets you
the stroke. Where the stroke crosses the labeled use the stroke itself to select multiple objects and
segments in the grid, a letter is added to the name then apply the command.
of the stroke.
All Objects in Rectangle Extents—Selects all objects
Command to Execute group defined by the rectangular bounding of the stroke.
Lists all commands to which you can assign a All Objects in Circular Extents—Selects all objects
stroke. Select a command and click OK to assign defined by the largest circle that fits within the
the stroke displayed in the grid to the selected rectangular bounding of the stroke.
Reviewing and Editing Strokes 597
Window/Crossing—When you choose either of the 2. Click Change. The Define Strokes dialog
previous two options, these two options become appears.
available. Window selects only those objects 3. Select the new stroke to assign.
entirely within the rectangular or circular region.
4. Click OK in the Define Strokes dialog to assign
Crossing selects all objects within or crossing the
region. the selected stroke to the command currently
highlighted in the Review Strokes dialog.
Current Stroke Set group—Displays the name
of the current stroke set, so you can review the Interface
strokes defined in that set. You can create and
save a number of different stroke sets. See Stroke
Preferences (page 3–598).
Review—Click to display the Review Strokes dialog
(page 3–597), in which you can choose from a list
of defined strokes and then see the stroke itself.
You cannot edit strokes this way. To view, change,
and delete strokes, draw the Review Strokes stroke
(by default, a horizontal line from left to right).
Reviewing and Editing Strokes

Defined Strokes
Define Strokes dialog > Click Review.
Displays a list of commands that currently have
Draw the Review Strokes stroke. By default, this is a strokes assigned to them and the name of the
horizontal line from left to right.
current stroke set.
You can view defined strokes in the Review Strokes Make Camera Active—Point at a single camera
dialog. Depending on how you display this dialog, (not the target), draw the stroke, and that camera
you can also change or delete defined strokes: becomes active in the viewport in which you draw
• Click the Review button in the Define Strokes the stroke.
dialog (page 3–595) to view strokes, but not Change Light Color—You can stroke this command
change or delete them. over one or more lights. The color selector appears,
• Draw the Review Strokes stroke (by default, so you can change the color of the selected lights.
a horizontal line from left to right) to view, Light On/Off Toggle—Stroke over a light to toggle it
change, and delete strokes. You can redefine on and off. If you stroke over two or more lights,
the Review Strokes stroke in the Review Strokes all the lights are set to a common state, either all
dialog. on or all off.
Procedure Set Constraints—Displays a small dialog with the

available axis constraints. Double-click to change
To change the command assigned to a stroke (or vice
versa): the axis constraints for the current transform
mode.
1. Select a command (or stroke) from the list.
Move Mode (Set Constraints)—Switches to Move Note: This command is only available when the
transform mode and displays a small dialog dialog is accessed by drawing the Review Strokes
with the available axis constraints. Double-click stroke.
to change the axis constraints for the current
transform mode. Information on Selected Stroke
Rotate Mode (Set Constraints)—Switches to Select Displays the name and shape of the stroke selected
and Rotate mode and displays a small dialog in the list window.
with the available axis constraints. Double-click
transform mode. Stroke Preferences Dialog
Scale Mode (Set Constraints)—Switches to Select Set up a stroke to access the Stroke Preferences dialog
> Use the stroke
and Scale mode and displays a small dialog
with the available axis constraints. Double-click
With the Stroke Preferences dialog you can save
sets of strokes and set other stroke properties.
transform mode.
Note: By default, the Strokes Preferences dialog is
Review Strokes—Displays the Review Strokes
available only if you assign a stroke to it, then use
dialog.
the stroke to access the dialog. See the following
Stroke Preferences—Displays the Stroke procedure.
Preferences dialog (page 3–598).
Procedure
Show As To access the Strokes Preferences dialog:
Provides two options that specify how commands 1. Set up strokes for your left or middle
are displayed in the list. mouse button. See Strokes (page 3–593) for
Command Name—Displays the assigned strokes by information how to do this.
command name (for example, Play Animation). 2. To define the stroke, hold down CTRL and
drag an inverted L shape (drag vertically from
Stroke Name—Displays the assigned strokes by
bottom to top, and continue from left to right).
their stroke name (for example, HK).
The name of this stroke is JGAB.
Change—Assigns a different stroke to the
command, or vice versa, depending on whether 3. On the Define Strokes dialog, choose Stroke
commands or strokes are displayed in the list. Preferences from the list.
Note: This command is only available when the 4. Click OK to close the dialog.
dialog is accessed by drawing the Review Strokes 5. Drag an inverted L shape to access the Strokes
stroke. Preferences dialog.
Delete—Removes the selected command (or
stroke) from the list, and the command is no
longer assigned to the stroke.
Strokes Utility 599
Interface Default=300 (about 1/3 of a second); Range=0 to

2000.
Show Extents Time (ms)

The time it takes, in milliseconds, for the extents of
the stroke to appear in the viewports. Range=0 to
2000. Set it to 0 to disable this feature. Default=300
(about 1/3 of a second).
Strokes that operate on the First Point display
a small X. Strokes that operate on items in the
bounding box of the stroke display the bounding
box. Strokes that operate on the circular extents
display a circle that fits inside the square bounding
box of the stroke. Window selections appear solid.
Crossing selections appear dotted.
Stroke Point Size

The size, in pixels, of Xs drawn in the viewports
that allow you to visualize the stroke shape.
Default=4; Range=3 to 20.
Current Stroke Set group
Displays the name and number of strokes in the
current set. Strokes Utility
• To create a new set, enter a new name in the Utilities panel > Utilities rollout > More button > Utilities
field and click Save. dialog > Strokes
• To choose a different set, choose it from the list

The Strokes utility lets you launch commands by
and click OK.
dragging left-button mouse patterns in a viewport.
Save—Saves the set displayed in the list. When you launch the Strokes utility, a modeless
dialog appears containing a single Draw Strokes
Delete—Deletes the set displayed in the list.
button. When the Draw Strokes button is active,
you can define and use strokes with the left mouse
Review Strokes Default Show As Order group
button.
Specifies whether commands or strokes are
initially listed in the Review Strokes dialog.
Show Grid Time (ms)

The time it takes, in milliseconds, for the stroke The Strokes system is also available as an option
analysis grid to appear in the viewports when you for the middle mouse button that doesn’t require
complete a stroke. Set it to 0 to hide the grid. the utility or the modeless dialog. This option can
be found on the Viewports tab (page 3–551) of the
Preferences dialog. For details, see Strokes (page

3–593).
Procedures
Example: To define a stroke pattern for Arc Rotate:
1. On the Utilities panel, click the More button,
and choose Strokes from the list.
2. On the modeless dialog, click Draw Strokes.
3. Hold down the left mouse button and drag the
mouse straight down from top to bottom, then
release the mouse button. The length of the
stroke doesn’t matter, but the direction does.
A dialog appears asking you to define the
pattern or continue.
4. Click Define to display the Define Stroke dialog.
5. Choose Arc Rotate from the Command To
Execute list and then click OK.
The pattern is now defined for Arc Rotate.
Example: To turn on Arc Rotate using the Strokes

utility:
1. Turn on Draw Strokes in the modeless dialog.
2. In any viewport, hold down the left mouse
button and drag the mouse straight down from
top to bottom. The length of the stroke doesn’t
matter, but the direction does.
As you drag the mouse, small X’s appear,
displaying your stroke. When you release the
mouse, a 3x3 grid appears briefly, and then the
program switches to Arc Rotate mode.
If a Stroke Not Found message appears, click
Continue, and then repeat step 2.
Default Keyboard Shortcuts
however, you can create a shortcut for almost every

Default Keyboard Shortcuts command available in the software.
Keyboard shortcuts are keyboard alternatives you As the tables show, the keyboard shortcut system
can use to initiate actions (commands or tools) has been expanded in the latest version of
normally accessed with the mouse. For example, Autodesk VIZ.
to open the Select Objects dialog, you can press the
H key, or you can change the active viewport to a In most cases you can close a dialog with the same
view from the Bottom, by pressing B. Keyboard command used to open it. In general this applies
shortcuts offer a means to let you work faster and to any combination of input methods, including
more efficiently. menu, toolbar button, and keyboard shortcuts.
For more information, see Toggling Dialogs (page
Many keyboard shortcuts are already set for most 3–382).
commonly used actions. If you want to modify
Note: You can create a text (TXT) file of all the
or add new shortcuts, you can do this from the
actions and their shortcuts by clicking Write
Keyboard panel (page 3–512) of the Customize
Keyboard Chart on the Keyboard panel (page
User Interface dialog (page 3–511). Keyboard
3–512) of the Customize User Interface dialog
shortcuts are separated by Groups or Categories of
(page 3–511). All actions that can have a shortcut
groups and they organize Actions.
assigned to them are listed. For actions with no
Groups—organize the Actions for which you can default shortcut assigned, the Shortcut column
set shortcuts. Default=Main UI. entry is blank.
Categories—offer a further breakdown of the You can assign and change default keyboard
Actions in a Group to specific categories. This lets shortcuts in these feature areas:
you quickly find an Action so you can assign or
Communication Center Shortcuts (page 3–602)
adjust a shortcut.
Edit/Editable Mesh Shortcuts (page 3–603)
Actions—are commands or tools.
Edit/Editable Patch Shortcuts (page 3–604)
The tables in these topics show the default
keyboard shortcuts. Only shortcuts which are Edit/Editable Spline Shortcuts (page 3–604)
defined by default are listed in these tables;
Editable Poly Shortcuts (page 3–604)
602 Chapter 19: Default Keyboard Shortcuts
Main User Interface Shortcuts (page 3–605) such as Editable Meshes, Track View, NURBS, and
so on.
Material Editor Shortcuts (page 3–608)
When the Override toggle is off, only the Main
NURBS Shortcuts (page 3–608)
User Interface shortcuts (page 3–605) are
Schematic View Shortcuts (page 3–610) recognized. When Override is on, both Main
UI and functional area shortcuts are recognized;
Tool Palettes Shortcuts (page 3–610)
however, if there is a conflict between a shortcut
Track View Shortcuts (page 3–611) assigned to a feature and one assigned to the Main
UI, when Override is on, the feature’s shortcut
Unwrap UVW Shortcuts (page 3–611)
takes precedence.
Procedure You can customize keyboard shortcuts on the
To create a keyboard shortcut: Keyboard panel (page 3–512) of the Customize
User Interface dialog (page 3–511). The lists in the
keyboard panel show which shortcuts have been
Interface > Keyboard panel.
assigned to which command or feature.
2. Use the Group and Category lists to find the
action for which you want to create a shortcut. See also
3. Click an action in the Action list to highlight it. Default Keyboard Shortcuts (page 3–601)
4. In the Hotkey field, enter the keyboard shortcut
you want to assign to the selected action.
Note: If the keyboard shortcut you enter is
Communication Center Shortcuts
already assigned to an action, that action’s To use keyboard shortcuts for Communication
name will appear in the Assigned To field. Center, the Keyboard Shortcut Override Toggle
5. Click Assign. (page 3–602) on the Extras toolbar must be turned
on.
Note: To use keyboard shortcuts other than the
Main User Interface shortcuts, the Keyboard Note: By default, no keyboard shortcuts are set in
Shortcut Override Toggle (page 3–602) on the the Communication Center group.
Extras toolbar must be turned on.
See also
Communication Center
Keyboard Shortcut Override
Toggle
Keyboard Panel (page 3–512)
Extras Toolbar > Keyboard Shortcut Override Toggle
The Keyboard Shortcut Override Toggle lets
you toggle between using only the "Main User
Interface" shortcut keys and using both the main
shortcuts and shortcut keys for functional areas
Edit Poly Shortcuts 603
Edit Poly Function Default Keyboard

Edit Poly Shortcuts Shortcut
These are the keyboard shortcuts for Edit Poly Select Edge Loop Down
Substract
objects; that is, objects to which the Edit Poly
modifier (page 2–76) is applied and active. The Select Edge Loop Up
table shows only the default keyboard shortcuts Select Edge Loop Up Add
for commands and menu entries. Select Edge Loop Up Subtract
To use keyboard shortcuts for Edit Poly objects, Select Edge Ring ALT+R
the Keyboard Shortcut Override Toggle (page Shrink Selection Ctrl+PageDown
3–602) on the Extras toolbar must be turned on.
Unhide All Alt+U
See also Vertex Level 1
Weld Mode Shift+Ctrl+W

Edit Poly Modifier (page 2–76)
Edit Poly Function Default Keyboard Edit/Editable Mesh Shortcuts
Shortcut
Edit Mesh and Editable Mesh actions that are
Bevel Mode Shift+Ctrl+B
assigned default keyboard shortcuts are listed in
Border Level 3 the table below.
Chamfer Mode Shift+Ctrl+C
To use keyboard shortcuts for Edit Mesh and
Connect Shift+Ctrl+E Editable Mesh objects, the Keyboard Shortcut
Constrain to Edges Shift+X Override Toggle (page 3–602) on the Extras
Cut ALT+C
toolbar must be turned on.
Edge Level 2
See also
Element Level 5
Extrude Mode Shift+E
Edit/Editable Mesh Default Keyboard
Grow Selection Ctrl+PageUp
Function Shortcut
Hide Alt+H
Bevel Mode CTRL+V, CTRL+B
Hide Unselected Alt+I (letter “i”)
Chamfer Mode CTRL+C
Object Level 6
Cut Mode ALT+C
Polygon Level 4
Detach CTRL+D
Quickslice Mode Shift+Ctrl+Q
Edge Invisible CTRL+I (letter “i”)
Repeat Last Operation ; (semi-colon)
Edge Level 2
Select Edge Loop ALT+L
Edge Turn CTRL+T
Select Edge Loop Down 5
Element Level
Select Edge Loop Down Add
Extrude Mode CTRL+E
Edit/Editable Mesh Default Keyboard Edit Spline Modifier (page 2–126)

Function Shortcut
Face Level 3
Polygon Level 4 Keyboard Panel (page 3–512)

Vertex Level 1 Customize User Interface Dialog (page 3–511)
Weld Selected CTRL+W Edit/Editable Spline FunctionDefault Keyboard Shortcut
Weld Target Mode ALT+W
Editable Poly Shortcuts

Edit/Editable Patch Shortcuts These are the keyboard shortcuts for Editable Poly
objects. The table shows only the default keyboard
To use keyboard shortcuts for Edit Patch and
shortcuts for commands and menu entries.
Editable Patch objects, the Keyboard Shortcut
Override Toggle (page 3–602) on the Extras To use keyboard shortcuts for Editable Poly
toolbar must be turned on. objects, the Keyboard Shortcut Override Toggle
Note: By default, no keyboard shortcuts are set in
(page 3–602) on the Extras toolbar must be turned
on.
the Edit/Editable Patch group.
See also See also
Editable Patch Surface (page 2–316) Editable Poly Surface (page 2–377)
Edit Patch Modifier (page 2–74) Default Keyboard Shortcuts (page 3–601)
Default Keyboard Shortcuts (page 3–601) Editable Poly Function Default Keyboard
Shortcut
Keyboard Panel (page 3–512) Bevel Mode SHIFT+CTRL+B
Customize User Interface Dialog (page 3–511) Border Level 3
Edit/Editable Patch FunctionDefault Keyboard Shortcut Chamfer Mode SHIFT+CTRL+C

Connect SHIFT+CTRL+E
Constrain to Edges SHIFT+X
Edit/Editable Spline Shortcuts Cut ALT+C
To use keyboard shortcuts for Edit Spline and Edge Level 2
Editable Spline objects, the Keyboard Shortcut
Element Level 5
Override Toggle (page 3–602) on the Extras
toolbar must be turned on. Extrude Mode SHIFT+E
Face Level 4
the Edit/Editable Spline group. Grow Selection CTRL+PageUp
Hide ALT+H
See also
Hide Unselected ALT+I (letter “i”)
Editable Spline (page 1–261) Object Level 6
Free-Form Deformation (FFD) Shortcuts 605
Editable Poly Function Default Keyboard FFD Function Keyboard Shortcut

Shortcut
Switch To Set Volume Level ALT+SHIFT+S
Quickslice Mode SHIFT+CTRL+Q
Switch To Top Level ALT+SHIFT+T
Repeat Last Operation ; (semicolon)
Select Edge Loop ALT+L
See also
Select Edge Loop Down
FFD (Free-Form Deformation) Modifiers (page
Select Edge Loop Down Add 2–129)
Select Edge Loop Down
Substract FFD (Box/Cylinder) Modifiers (page 2–132)
Select Edge Loop Up Default Keyboard Shortcuts (page 3–601)
Select Edge Loop Up Add Keyboard Panel (page 3–512)
Select Edge Loop Up Subtract
Select Edge Ring ALT+R
Select Edge Ring Down

Select Edge Ring Down Add Main User Interface Shortcuts
Select Edge Ring Down You can quickly access a majority of the user
Substract interface functionality via a combination of
Select Edge Ring Up keystrokes and mouse button clicks. The table
Select Edge Ring Up Add below shows the functions for which you can
create a shortcut. Where a function has a default
Select Edge Ring Up Subtract
keyboard shortcut, the shortcut is listed in the
Shrink Selection CTRL+PageDown second column.
Unhide All ALT+U
Vertex Level 1 See also

Weld Mode SHIFT+CTRL+W Default Keyboard Shortcuts (page 3–601)
Free-Form Deformation (FFD)
Note: In the table below, "RMB" stands for "right
Shortcuts
mouse button": in other words, a right-click.
To use keyboard shortcuts for Free-Form
Deformation (FFD) modifiers, the Keyboard User Interface Function Keyboard Shortcut
Shortcut Override Toggle (page 3–602) on the Numeric Expression CTRL+N while the cursor is
Evaluator in a numeric field
Extras toolbar must be turned on.
FFD Function Keyboard Shortcut User Interface Function Default Keyboard Shortcut
Switch To Control Point ALT+SHIFT+C Adaptive Degradation O (letter "o")
Level Toggle
Switch To Lattice Level ALT+SHIFT+L Advanced Lighting Panel 9
User Interface Function Default Keyboard Shortcut User Interface Function Default Keyboard Shortcut
Align ALT+A Hold ALT+CTRL+H
Angle Snap Toggle A Isolate Selection ALT+Q
Animation Quad Menu ALT+RMB Isometric User View U
Auto Key Mode Toggle N Left View L
Background Lock Toggle ALT+CTRL+B Lighting | Render CTRL+ALT+RMB
Backup Time One Unit , (comma) Lock User Interface Toggle ALT+0 (zero)
Bottom View B Material Editor M
Camera View C Maximize Viewport Toggle ALT+W
Cap (Poly) ALT+P MAXScript Listener F11
Clone CTRL+V MeshSmooth (Poly) CTRL+M
Collapse (Poly) ALT+CTRL+C Modeling CTRL+RMB
Create Camera from View CTRL+C Move Mode W
Cut (Poly) ALT+C New Scene CTRL+N
Cycle Selection Method CTRL+F Normal Align ALT+N
Default Lighting Toggle CTRL+L Object Display Culling ALT+O
Delete Objects DELETE Offset Snap ALT+CTRL+SPACEBAR

Disable Viewport D Open File CTRL+O
Display As See-Through ALT+X Pan View CTRL+P

Toggle
Pan Viewport I (letter "i")
Environment Dialog 8
Perspective User View P
Expert Mode Toggle CTRL+X
Place Highlight CTRL+H
Extrude Face (Poly) ALT+E
Play Animation / (forward slash)
Fetch ALT+CTRL+F
Quick Align SHIFT+A
Forward Time One Unit . (period)
Quick Render SHIFT+Q
Front View F
Redo Scene Operation CTRL+Y
Go to End Frame END
Redo Viewport Operation SHIFT+Y
Go to Start Frame HOME
Redraw All Views ‘ (accent grave)
Hide Cameras Toggle SHIFT+C
Render Last F9
Hide Geometry Toggle SHIFT+G
Render Scene F10
Hide Grids Toggle G
Render To Texture 0
Hide Helpers Toggle SHIFT+H
Restrict Plane Cycle F8
Hide Lights Toggle SHIFT+L
Restrict to X F5
Hide Shapes Toggle SHIFT+S
Restrict to Y F6
Main User Interface Shortcuts 607
User Interface Function Default Keyboard Shortcut User Interface Function Default Keyboard Shortcut
Restrict to Z F7 Sub-Object Level 4 4
Rotate Mode E Sub-Object Level 5 5
Rotate View Mode CTRL+R Sub-Object Level Cycle INSERT

Save File CTRL+S Sub-Object Selection CTRL+B
Toggle
Scale Cycle CTRL+E
Top View T
Select All CTRL+A
Transform Gizmo Size Down - (minus)
Select Ancestor PAGE UP
Transform Gizmo Size Up =
Select Child PAGE DOWN
Transform Gizmo Toggle X
Select Children CTRL+PAGE DOWN
Transform Type-In Dialog F12
Select Invert CTRL+I (letter “i”)
Undo Scene Operation CTRL+Z
Select None CTRL+D
Undo Viewport Operation SHIFT+Z
Select-By-Name Dialog H
Update Background Image ALT+SHIFT+CTRL+B
Select Lock Toggle SPACEBAR
View Edged Faces Toggle F4
Set Key Mode ’ (apostrophe)
Viewport Background ALT+B
Set Keys K
Viewports V
Shade Selected Faces F2
Toggle Virtual Viewport Pan Down 2 (numeric keypad)
Show Main Toolbar Toggle ALT+6 Virtual Viewport Pan Left 4 (numeric keypad)
Show Safeframes Toggle SHIFT+F Virtual Viewport Pan Right 6 (numeric keypad)
Show Selection Bracket J Virtual Viewport Pan Up 8 (numeric keypad)
Toggle
Virtual Viewport Toggle / (numeric keypad -
Show Tab Panel Toggle Y backslash)
Smart Scale R Virtual Viewport Zoom In + (numeric keypad)
Smart Select Q Virtual Viewport Zoom Out - (numeric keypad - minus)
Snap SHIFT+RMB Wireframe / Smooth+ F3
Highlights Toggle
Snap Percent Toggle SHIFT+CTRL+P
Zoom Extents ALT+CTRL+Z
Snap Toggle S
Zoom Extents All SHIFT+CTRL+Z
Snaps Cycle ALT+S
Zoom Extents Selected All Z
Sound Toggle \ (backslash)
Zoom Mode ALT+Z
Spacing Tool SHIFT+I (letter "i")
Zoom Region Mode CTRL+W
Spot/Directional Light View SHIFT+4
Zoom Viewport In [ (open square bracket)
Sub-Object Level 1 1
Zoom Viewport Out ] (closed square bracket)
See also
Material Editor Shortcuts
Working with NURBS Models (page 2–445)
Material Editor features for which keyboard
shortcuts have been set are listed below.
To use Material Editor keyboard shortcuts, the
Keyboard Shortcut Override Toggle (page 3–602) Customize User Interface Dialog (page 3–511)
on the Extras toolbar must be turned on.
Noncustomizable Keyboard Shortcut
Keyboard Shortcut
See also Function for NURBS
Default Keyboard Shortcuts (page 3–601) Cycle Sub-Object Level INSERT
Delete Sub-Object DELETE

Material Editor Function Default Keyboard
Shortcut
Customizable Keyboard Keyboard Shortcut
Background B
Shortcut Function for
Backlight L NURBS
Cycle 3X2, 5X3, 6X4 Sample X Break Both

Slots Break Column
DX Display Break Curve
Fix Ambient All Break Row
Fix Ambient Selected
Create 1–Rail Sweep
Get Material G
Create 2–Rail Sweep
Go Backward to Sibling LEFT ARROW
Create a Multicurve
Go Forward to Sibling RIGHT ARROW Trimmed Surface
Go to Parent UP ARROW Create a Multisided Blend

Surface
Make Preview P
Create Blend Curve
Options O
Create Blend Surface
Create Cap Surface
Create Chamfer Curve
NURBS Shortcuts
Create Curve Point
To use NURBS keyboard shortcuts, the Keyboard
Create Curve-Curve Point
Shortcut Override Toggle (page 3–602) on the
Extras toolbar must be turned on. Create CV Curve
Create CV Curve on Surface
A couple of NURBS shortcuts cannot be
customized. Create CV Surface
Create Extrude Surface
Only NURBS actions that are assigned default
keyboard shortcuts are listed in the table below. Create Fillet Curve
Create Fillet Surface
NURBS Shortcuts 609
Customizable Keyboard Keyboard Shortcut Customizable Keyboard Keyboard Shortcut

Shortcut Function for Shortcut Function for
NURBS NURBS
Create Fit Curve Display Dependents CTRL+D
Create Lathe Surface Display Lattices CTRL+L
Create Mirror Curve Display Shaded Lattice ALT+L
Create Mirror Surface Display Surfaces SHIFT+CTRL+S
Create Normal Projected Display Toolbox CTRL+T
Curve
Display Trims SHIFT+CTRL+T
Create Offset Curve
Extend CV Curve
Create Offset Point
Extend Point Curve
Create Offset Surface
Extend Surface
Create Point
Fuse Curve CVs
Create Point Curve
Fuse Points
Create Point Curve on
Surface Fuse Surface CVs
Create Point Surface Insert CV Both
Create Ruled Surface Insert CV Column
Create Surf Point Insert CV In Curve
Create Surface Edge Curve Insert CV Row
Create Surface Offset Curve Join Curves
Create Surface-Curve Point Join Surfaces
Create Surface-Surface Local Select Sub-Object by CTRL+H

Intersection Curve Name (beneath mouse)
Create Transform Curve Lock 2D Selection SPACEBAR
Create Transform Surface Make First
Create U Iso Curve Refine CV Both
Create U Loft Surface Refine CV Column
Create UV Loft Surface Refine CV Curve
Create V Iso Curve Refine CV Row
Create Vector Projected Refine Point Both

Curve
Refine Point Column
CV Constrained Normal ALT+N
Refine Point Curve
Move
ALT+U Refine Point Row
CV Constrained U Move
Select Next in U CTRL+RIGHT ARROW
CV Constrained V Move ALT+V
Select Next in V CTRL+UP ARROW
Display Curves SHIFT+CTRL+C
Customizable Keyboard Keyboard Shortcut Object Display Culling Default Keyboard

Shortcut Function for Function Shortcut
NURBS
Object Display Culling ALT+O
Select Previous in U CTRL+LEFT ARROW
Object Display Culling
Select Previous in V CTRL+DOWN ARROW Dialog
Select Sub-Object by Name H
Set Tessellation Preset 1 ALT+1
Set Tessellation Preset 2 ALT+2

Schematic View Shortcuts
Set Tessellation Preset 3 ALT+3 To use Schematic View keyboard shortcuts, the
Soft Selection CTRL+S
Keyboard Shortcut Override Toggle (page 3–602)
Switch to Curve CV Level ALT+SHIFT+Z
Switch to Curve Level ALT+SHIFT+C See also

Switch to Imports Level ALT+SHIFT+I (letter “i”) Using Schematic View (page 3–302)
Switch to Point Level ALT+SHIFT+P
Switch to Surface CV Level ALT+SHIFT+V
Switch to Surface Level ALT+SHIFT+S
Switch to Top (Object) Level ALT+SHIFT+T

Transform Degrade CTRL+X Schematic V iew Function Default Keyboard
Shortcut
Backup Time One Unit , (comma)
Object Display Culling Shortcuts Forward Time One Unit . (period)

Redo Scene Operation CTRL+A
To use Object Display Culling keyboard shortcuts,
the Keyboard Shortcut Override Toggle (page Undo Scene Operation CTRL+Z
3–602) on the Extras toolbar must be turned on.
See also Tool Palettes Shortcuts

Object Display Culling Utility (page 1–56) To use keyboard shortcuts for Tool Palettes, the
Default Keyboard Shortcuts (page 3–601) Keyboard Shortcut Override Toggle on the Extras
toolbar must be turned on.
Customize User Interface Dialog (page 3–511) the Tool Palettes group.
See also
Tool Palettes Set (page 3–403)
Track View Shortcuts 611
Customize User Interface Dialog (page 3–511) Track View Function Keyboard Shortcut
Scroll Down CTRL+DOWN ARROW
Scroll Up CTRL+UP ARROW

Track View Shortcuts
Snap Frames S
Track View actions that are assigned default
Zoom Z
keyboard shortcuts are listed in the table below.
Zoom Horizontal Extents ALT+X
To use Track View keyboard shortcuts, the Keys
Keyboard Shortcut Override Toggle (page 3–602)
Unwrap UVW Shortcuts
See also
To use keyboard shortcuts for the Unwrap UVW
Track View (page 2–818)
modifier, the Keyboard Shortcut Override Toggle
Default Keyboard Shortcuts (page 3–601) (page 3–602) on the Extras toolbar must be turned
on.
Customize User Interface Dialog (page 3–511) See also
Track V iew Function Keyboard Shortcut Unwrap UVW Modifier (page 2–247)
Add Keys A Default Keyboard Shortcuts (page 3–601)
Apply Ease Curve CTRL+E
Apply Multiplier Curve CTRL+M
Assign Controller C
In general, this table includes only functions that
Copy Controller CTRL+C
have default keyboard shortcuts and functions
Expand Object Toggle O (letter "o") with descriptions that are not documented in the
Expand Track Toggle ENTER, T Unwrap UVW reference topics.
Filters Q
Unwrap UVW Keyboard Description
Lock Selection SPACEBAR Function Shortcut
Lock Tangents Toggle L Allow Selections Lets you select

Inside Transform vertices inside
Make Controller Unique U Gizmo the gizmo by
CTRL+clicking
Move Highlight Down DOWN ARROW or ALT+clicking
UP ARROW a vertex. When
Move Highlight Up
turned on, you
Move Keys M can move only
by dragging over
Nudge Keys Left LEFT ARROW empty space.
Nudge Keys Right RIGHT ARROW
Pan P
Paste Controller CTRL+V
Unwrap UVW Keyboard Description Unwrap UVW Keyboard Description

Function Shortcut Function Shortcut
Always Bring Up When on, the Edge to Vertex Converts an edge
The Edit Window Edit UVWs dialog Select selection into a
automatically vertex selection.
opens when you
access the Unwrap Edit UVWs CTRL+E Opens the Edit
UVW modifier. UVWs dialog.
Blend Tiles To Lets you blend the Expand Geom. Grows the face
Background image in the Edit Faces selection in the
UVWs dialog with viewport.
the background
Face to Edge Converts a face
color. At 0 the
Select selection into an
image will be
edge selection.
hidden while at
1 it will be at full Face to Vertex Converts a face
intensity. Select selection into a
vertex selection.
Break Selected CTRL+B Breaks selected
Vertices vertices so no face
shares them; the Filter Selected ALT+F When on, only
same as breaking Faces faces that are
a vertex in Edit selected in the
Mesh. viewport will be
displayed in the
Brightness Affects The brightness Edit UVWs dialog.
Center Tile control for the tile
of image at 0,0 Flatten Map Lays out the UV
of the Edit UVWs space so that
dialog. no texture faces
overlap.
Contract Geom. Shrinks the face
Faces selection in the Flatten Map Opens the
viewport. Dialog dialog for Flatten
Mapping settings.
Copy Copies the current
face selection Flip Horizontal Detaches the
texture data into current selection
the paste buffer. and then mirrors it
in the U direction.
Detach Edge D, CTRL+D Detaches the
Vertices selected vertices Flip Vertical Detaches the
into a separate current selection
element. and then mirrors it
in the V direction.
Display Seams Highlights edges
that are seams Freeform Mode Toggles freeform
in texture space editing tool in the
in the Edit UVWs Edit UVWs dialog.
dialog. A seam
is an edge that Freeze Selected CTRL+F Locks the current
has only one face selection so you
attached to it. cannot select it
anymore.
Edge Snap
Geom. Edge Loop
Edge to Face Converts an edge Selection
Select selection into a
face selection.
Unwrap UVW Shortcuts 613

Geom. Edge Ring Mapping Align X Aligns the
Selection mapping gizmo
to the X axis of
Geom. Element Puts you in an the object’s local
Select Mode element-select coordinate system.
mode for selecting
faces in the Mapping Align Y Aligns the
viewport. mapping gizmo
to the Y axis of
Get Face Selection ALT+SHIFT+ Copies the face the object’s local
From Stack CTRL+F selection from the coordinate system.
modifier stack into
the face selection Mapping Align Z Aligns the
that Unwrap UVW mapping gizmo
uses. to the Z axis of
the object’s local
Get Selection ALT+SHIFT+ Transfers the face coordinate system.
From Faces CTRL+P selection in the
viewport to the Mapping Center Moves the
selection in the mapping gizmo
Edit UVWs dialog. so that its pivot
coincides with
Grid Snap Turns on grid the center of the
snapping. selection.
Grid Visible Toggles grid Mapping Fit Scales the gizmo
visibility. to the extents of
CTRL+H the selection and
Hide Selected Hides the current
centers it on the
selection in the
selection. Does
Edit UVWs dialog.
not change the
Ignore Back Faces When on you can orientation.
select only faces in
Mapping Reset Scales the gizmo
the viewport that
to fit the selection
are facing you.
and aligns it with
Load Defaults Loads the UI the object’s local
defaults from an space.
.ini file.
Mirror Horizontal ALT+SHIFT+ Mirrors the current
Load UVW ALT+SHIFT+ Lets you load a CTRL+N selection along the
CTRL+L .uvw file onto a U axis.
mesh. The mesh
must have similar Mirror Vertical ALT+SHIFT+ Mirrors the current
topology as the CTRL+M selection along the
source. V axis.
Lock Selected SPACEBAR Locks the selection Move Horizontal ALT+SHIFT+

Vertices so you cannot add CTRL+J
to or remove from Move Vertical ALT+SHIFT+
it. CTRL+K
Mapping Align
Normals Normal Map This creates a
mapping based on
Mapping Align To the face normals.
View

Normal Map Opens a dialog for Pivot Snap ... (nine Snaps the
Dialog making Normal shortcuts) Freeform gizmo
Mapping settings. pivot to the
specified gizmo
Open Edge Mode When turned on, edge.
selecting an open
edge selects all
attached open
edges.
Planar Map ENTER Applies a planar
Open Edge Select Selects all open Faces/Patches map to the current
edges connected selection.
to the current
Planar Threshold Turns on the
selection.
Modify panel >
Pack Lays out all Planar Angle check
selected elements box.
so they don’t
Polygon Mode Applies only to
overlap.
triangle meshes.
Pack Dialog Opens the Pack When turned on
dialog. (the default), if you
select a triangular
Paint Select Applies to the face, the software
Decrement Cursor Sketch tool. will select all faces
Size that belong to the
poly that owns that
Paint Select Applies to the face.
Increment Cursor Sketch tool.
Size Polygon Select Expands the
current face
Paint Select Mode Applies to the selection to the
Sketch tool. poly.
Pan CTRL+P Prevent When on, keeps
Paste Pastes the contents Reflattening Render To Texture
of the paste buffer from reflattening
onto the selection. the mapping.
For best results the Relax Applies the default
source and target Relax Tool settings
should have similar to the current
topology. texture vertex
selection.
Paste Instance The pasted and
source UVs will Relax Dialog Opens the Relax
share the same Tool dialog.
vertices.
Render UVW Renders the UVW
Template coordinates to a
bitmap.
Unwrap UVW Shortcuts 615

Reset Pivot On When turned on Show Subobject Displays the
Selection (the default), the Counter number of
Freeform gizmo selected objects in
pivot is reset the editor window.
to the center
every time the Show Vertex Tags all texture
selection changes, Connections vertices that
otherwise the share the same
pivot maintains geometry vertex
its offset. with a unique ID.
Reset UVWs Sets texture Sketch Activates Sketch

coordinates to Vertices.
the original values
Sketch Dialog
before Unwrap
was applied. Sketch Reverse Reverses the order
Vertex Order of the selected
Save Current Saves current
vertices for Sketch
Settings As UI values to the
mode. Applies to
Default default .ini file.
the Use Current
Save UVW Lets you save the Selection option
UVW data to disk as for Sketch.
a .uvw file, which
Snap CTRL+S Toggles snapping.
can be read in later
or onto another Snap to Grid/ Sets the snap type.
mesh if they have Vertex/Edge
similar topology.
Soft Selection Equivalent to
Scale Horizontal Scales the Edge Distance turning on Edge
selection along Distance.
the U axis.
Soft Selection Set Edge Distance
Scale Vertical Scales the Edge Distance to the specified
selection along Range 1 value.
the V axis.
Select Inverted Selects any faces Edge Distance to the specified
Faces in the Edit UVWs Range 2 value.
dialog that are not
facing you. Soft Selection Set Edge Distance
Edge Distance to the specified
Show Hidden Toggles display of Range 3 value.
Edges all edges.
Show Map Toggles display of Edge Distance to the specified
the image map. Range 4 value.
Show Seams in ALT+E Toggles display Soft Selection Set Edge Distance
Viewport of cluster seams Edge Distance to the specified
in the viewport. Range 5 value.
Works only when
Edit UVWs dialog Soft Selection Set Edge Distance
has focus. Edge Distance to the specified
Range 6 value.
Show Shared Shows sub-objects
Sub-objects that share Soft Selection Set Edge Distance
edges/vertices. Edge Distance to the specified
Range 7 value.

Soft Selection Set Edge Distance TV Vertex TV=Texture Vertex
Edge Distance to the specified Sub-object Mode
Range 8 value.
Unfold Map
Stitch Stitches together
shared edges of a Unfold Map
polygon. Dialog
Stitch Dialog Opens the Unfreeze All Unfreezes all

properties for the frozen elements.
Stitch command.
Unhide All Unhides all hidden
Sync Selection Same as Sync to elements.
Mode Viewport
Unwrap Options CTRL+O (letter
Sync Texture Synchronizes the "o")
Selection to selection in the
Update Map CTRL+U Updates map in
Viewport Edit UVWs dialog
editor.
to the selection in
the viewport. UV Edge Mode When on, selecting
an edge expands
Sync Viewport Synchronizes the
the selection to
Selection to selection in the
include all edges in
Texture viewport to the
its loop. See Edge
selection in the
Loop.
Edit UVWs dialog.
UV Edge Select Expands an
Texture Vertex - (minus sign), Shrinks the
existing edge
Contract NumPad - selection in the
selection to
Selection Edit UVWs dialog.
include all edges in
Texture Vertex = (equal sign), Grows the its loop. See Edge
Expand Selection NumPad + selection in the Loop.
Edit UVWs dialog. Vertex Snap
Texture Vertex Q Lets you move Converts vertex
Vertex To Edge
Move Mode vertices in editor. selection to an
Select
Texture Vertex CTRL+R Lets you rotate edge selection and
Rotate Mode vertices in editor. puts you in Edge
mode.
Texture Vertex Lets you scale
Scale Mode vertices in editor. Vertex To Face Converts vertex
Select selection to a face
Texture Vertex CTRL+W Welds selected selection and puts
Weld Selected vertices in editor. you in Face mode.
Texture Vertex CTRL+T Lets you target- Zoom Z

Target Weld weld selected
vertices in editor. Zoom Extents X
TV Edge TV=Texture Vertex Zoom Extents ALT+CTRL+Z

Sub-object Mode Selected
TV Element Mode TV=Texture Vertex Zoom Region CTRL+X
TV Face Sub- TV=Texture Vertex Zoom Selected

object Mode Element
Zoom to Gizmo SHIFT+SPACEBAR
Walkthrough Navigation Shortcuts 617
Command Shortcut
Walkthrough Navigation Right D, RIGHT ARROW
Shortcuts
Up E, SHIFT+UP-ARROW
These are the keyboard shortcuts for use with
Walkthrough Navigation. The table shows all the
valid keyboard shortcuts for commands and menu
entries.
To use keyboard shortcuts for Walkthrough
Navigation, the Keyboard Shortcut Override
Toggle (page 3–602) on the Extras toolbar must
be turned on.
See also
Using Walkthrough Navigation (page 1–28)
Command Shortcut
Accelerate Toggle Q
Back S, DOWN ARROW
Decelerate Toggle Z
Decrease Rotation
Sensitivity
Decrease Step Size [
Down C, SHIFT+DOWN-ARROW
Forward W, UP ARROW
Increase Rotation Sensitivity
Increase Step Size ]
Invert Vertical Rotation
Toggle
Left A, LEFT ARROW
Level SHIFT+SPACE
Lock Horizontal Rotation

Lock Vertical Rotation SPACE
Reset Step Size ALT+[
appendix a
Using the Reference Online
also identify topics containing information on

Using the Reference Online new features in the program using the Index.
The Autodesk VIZ User Reference gives you Double-click the "new feature" entry to display
information about every aspect of the software. a list of topics describing new program features.
Each topic contains an overview discussion, Double-click the entry "changed feature" to see
typically preceded by a path annotation showing which existing features have changed.
how to access the feature in the program, and The screen shots in this reference show the default
followed by a "Procedures" section with steps for user interface colors. Other color sets for the user
using a command or feature, and an “Interface” interface are available. You can choose them,
section detailing controls and parameters for the or create your own, using the Colors tab (page
user interface. 3–519) in the Customize User Interface dialog
• Path Annotation: Gives one or more sequences (page 3–511).
of steps indicating how to access the feature in The Autodesk VIZ User Reference assumes that
the user interface. Windows is set to the default Small Fonts (96
• Topic Overview: Tells you the name of the dpi) display. If your computer is set to use Large
feature, command, user-interface control, or Fonts or any option other than Small Fonts,
concept, and gives you a description. change it to Small Fonts; otherwise you might
• Procedures: Contains steps for tasks that experience display problems, or unpredictable
illustrate the typical use of the feature. system behaviors.
• Interface: Describes the controls for this See also

feature as they appear in the user interface, with
a description of their behaviors and settings. Finding Information Fast (page 3–620)
Using the HTML Help Viewer (page 3–620)
Important Notes
Searching for Help Topics (page 3–622)
New features are indicated in this reference
by the "New" icon shown at the beginning of this
paragraph. This makes it easy to see what’s new
in the software as you use the reference. You can
620 Appendix A: Using the Reference Online
The topic displays in the right pane and may

Finding Information Fast show links to related topics.
Use the Navigation pane in the Help Window to
get to information quickly. It contains tabs that let Search Tab
you use Contents, Index, or Search techniques to The Search tab summons a full-text search engine
get to topics you need. that operates on a database of every word in the
help system, created when the HTML Help system
Contents Tab was compiled. You can use tools on the Search tab
The Contents tab displays the main sections of to find the help topics (page 3–622) containing
this online system as book icons. When you any word or phrase.
click a book, it expands to show the list of topics
contained within it, like chapters in hardcopy Favorites Tab
books. Use tools on the Favorites tab to create and store
a set of topics you use often; you can name them
To go to a topic from the Contents tab: as you choose.
1. Click the Contents tab to display the Table of
Contents view.
2. Click the book icon representing the area for
Using the HTML Help Viewer
which you want information. This online information system is a compiled
The page icons for the book expand below HTML help (.chm) file; you view it using
representing all the topics for the book’s feature Microsoft’s HTML Help Viewer, powered by
area. Internet Explorer. The HTML Help Viewer is a
three-pane window:
3. Click the page icon for the topic you want.
• The Navigation pane (page 3–620) is on the left
Index Tab side of the window. It contains five navigational
tabs, for Contents (page 3–620), Index (page
The Index is an alphabetical listing of keywords 3–620), Search (page 3–622), and Favorites
found in each topic. A single keyword may be (page 3–624).
linked to more than one topic. You may type the
first few letters of a subject to jump to an index • The Topic pane is on the right side of the
entry that matches what you are looking for. window. It displays the selected help topic, or
the default help topic. It’s the window you’re
To go to a topic from the Index tab: reading from right now.
1. Click the Index tab to display the Help Index. • The toolbar (page 3–624) is the third pane,
located below the help window title bar.
2. In the form at the top of the Index, type the
subject you want to find, or scroll through the Here are some tips on how to find more
alphabetical list to find the term for which you information when using the HTML Help
need information. Viewer:
3. Click the term, then click Display to see the • To link to another topic or a list of other topics,
topic for that term, or double-click the term to click the colored, underlined words in the Topic
see its topic. pane.
Using the HTML Help Viewer 621
• If you use a particular help topic often, you can 2. Click the contents entry, index entry, or search
add it to your favorites list (page 3–624). results entry to display the corresponding topic.
• Right-click the Contents or Favorites tab or the
To copy a help topic:
Topic pane for shortcut menu commands.
1. In the Topic pane, right-click the topic you want
Comments to copy, and then click Select All.
Each topic in the User Reference online ends with 2. Right-click again, and then click Copy. This
a Comments link. When you click Comments, copies the topic to the Clipboard.
the Help Viewer displays a dialog you can use to 3. Open the document you want to copy the topic
send us comments or requests about that topic. to.
We’ll use that information when we revise the
4. Position your cursor where you want the
documentation set for a future release.
information to appear.
See also 5. On the Edit menu, click Paste.
Finding Information Fast (page 3–620) To copy only part of a topic:

Searching for Help Topics (page 3–622) • Select the text you want to copy, right-click, and
Note: Most of information about using the then click Copy.
HTML Help Viewer has been supplied directly by
To print the current help topic:
Microsoft. It has been made freely available for
inclusion in HTML help projects such as this one. • Right-click a topic, and then click Print.
This information has been edited and reformatted If you print from the Contents tab (by
to match that of the other online information right-clicking an entry, and then clicking Print)
systems shipping with the software. you will see options to print only the current
topic, or the current topic and all subtopics.
Procedures
To find a help topic: To hide or show the Navigation pane:
1. In the Navigation pane, click one of the • On the toolbar, click Hide or Show to close or
following tabs: display the Navigation pane, which contains the
Contents, Index, Search, and Favorites tabs.
• To browse through a table of contents, click
the Contents tab. The table of contents is an If you close the Help Viewer with the Navigation
expandable list of important topics. pane hidden, it will appear that way when you
open the Help Viewer again.
• To see a list of index entries, click the Index
tab, and then type a word or scroll through To see where the current topic fits in the information
the list. Topics are often indexed under more hierarchy (contents):
than one entry.
• Press ALT+C.
• To locate every occurrence of a word or
The Contents pane displays, with the current
phrase that may be contained in a help file,
topic highlighted.
click the Search tab, and then type the word.
Search for Example Results

Searching for Help Topics A single word select Topics that contain the
A basic search consists of the word or phrase you word "select." (You will
also find its grammatical
want to find. You can use Boolean, wildcard, and variations, such as
nested expressions. You can also limit the search "selector" and "selection.")
to previous results, match similar words, or search
topic titles only to further define your search.
A phrase "new Topics that contain
The basic rules for formulating queries are as operator" or the literal phrase
follows: new operator "new operator" and
all its grammatical
• Searches are not case-sensitive, so you can variations.Without the
type your search in uppercase or lowercase quotation marks, the
query is equivalent to
characters. specifying "new AND
• You may search for any combination of letters operator," which will find
topics containing both
(a through z) and numbers (0 through 9). of the individual words,
instead of the phrase.
• Punctuation marks such as the period, colon,
semicolon, comma, and hyphen are ignored Wildcard esc* or 80?86 Topics that contain the
expressions terms "ESC," "escape,"
during a search. "escalation," and so on.
• Group the elements of your search using double The asterisk cannot be
the only character in the
quotes (page 3–x) or parentheses (page 3–x) to term.Topics that contain
set apart each element. You cannot search for the terms "80186," "80286,"
"80386," and so on. The
quotation marks. question mark cannot be
Note: If you are searching for a file name with an the only character in the
term.
extension, you should group the entire string
in double quotes, ("filename.ext"). Otherwise, Turn on Match Similar Words to include minor
the period will break the file name into two grammatical variations for the phrase you search.
separate terms. The default operation between
terms is AND, so you will create the logical Defining Search Terms: Using Boolean
equivalent to "filename AND ext." Expressions
Searching for Words or Phrases: Using The AND, OR, NOT, and NEAR operators
Wildcards enable you to precisely define your search by
creating a relationship between search terms. The
You can search for words or phrases and use following table shows how you can use each of
wildcard expressions. Wildcard expressions allow these operators. If no operator is specified, AND
you to search for one or more characters using is used. For example, the query "spacing border
a question mark or asterisk. The table below printing" is equivalent to "spacing AND border
describes the results of these different kinds of AND printing."
searches.
Searching for Help Topics 623
Search for Example Results Procedures

Both terms in dib AND Topics containing both To go to a topic from the Search tab:
the same topic. palette the words "dib" and
"palette." 1. Click the Search tab, and then type the word or
phrase you want to find.
Either term in a raster OR Topics containing either
topic. vector the word "raster" or the
word "vector" or both. 2. Click the Boolean button to the right of the
text field, and then one of the operator names
The first term ole NOT dde Topics containing the
without the word "OLE," but not the to add Boolean operators to your search.
second term. word "DDE."
3. Click List Topics, choose the topic you want,
Both terms in user NEAR Topics containing the and then click Display.
the same topic, kernel word "user" within
close together. eight words of the word 4. To sort the topic list alphabetically, click the
"kernel." Title column heading.
Note: The |, &, and ! characters don’t work as You can precisely define a search by using wildcard
Boolean operators (you must use OR, AND, and expressions, nested expressions, and Boolean
NOT). operators.
You can request similar word matches, search only
Using Nested Expressions When
the topic titles, or search the results of a previous
Searching
search.
Nested expressions allow you to create complex
searches for information. For example, "control You can set the Help Viewer to highlight all
AND ((active OR dde) NEAR window)" finds instances of search terms that are found in topic
topics containing the word "control" along with files. Click the Options button, and then click
the words "active" and "window" close together, or Search Highlight On.
containing "control" along with the words "dde"
To highlight words in searched topics:
and "window" close together.
When searching for words in help topics, you
The basic rules for searching help topics using can have each occurrence of the word or phrase
nested expressions are as follows: highlighted in the topics that are found.
• You can use parentheses to nest expressions • To highlight all instances of a search word or
within a query. The expressions in parentheses phrase, click Options on the toolbar, and then
are evaluated before the rest of the query. click Search Highlight On.
• If a query does not contain a nested expression, To turn off this option, click Options on the
it is evaluated from left to right. For example: toolbar, and then click Search Highlight Off.
"Control NOT active OR dde" finds topics
containing the word "control" without the word If you are viewing a long topic, only the first
"active," or topics containing the word "dde." 500 instances of a search word or phrase will be
On the other hand, "control NOT (active OR highlighted.
dde)" finds topics containing the word "control"
without either of the words "active" or "dde."
• You cannot nest expressions more than five
levels deep.
To search for words in the titles of HTML files: To repeat an earlier search:
1. Click the Search tab, type the word or phrase
• Click the down arrow on the text-entry field
you want to find, and then turn on Search Titles and choose a previously used search string, and
Only. then click List Topics.
and then click Display.
If you use this option, all HTML topic files will Favorites Tab
be searched, including any that are not listed in Use tools on the Favorites tab to create a set of
the table of contents. topics you use often; you can name them as you
choose.
To find words similar to your search term:
This feature enables you to include minor Procedures
grammatical variations for the phrase you search. To create a list of favorite help topics:
For example, a search on the word "add" will find
1. Locate the help topic you want to make a
"add," "adds," and "added."
favorite topic.
1. Click the Search tab, type the word or phrase
2. Click the Favorites tab, and then click Add.
you want to find, and then turn on Match
Similar Words.
To return to a favorite topic:
1. Click the Favorites tab.
2. Choose the topic, and then click Display.
This feature only locates variations of the word
with common suffixes. For example, a search To rename a topic in the Favorites list:
on the word "add" will find "added," but it will
not find "additive." • Choose the topic, and then enter a new name in
the Current topic box.
To search only the last group of topics you searched:
To remove a favorite topic:
This feature enables you to narrow a search that
results in too many topics found. You can search • Choose the topic, and then click Remove.
through your results list from previous search by
using this option.
HTML Help Viewer Toolbar
1. On the Search tab, turn on Search Previous
Results. The Help Viewer toolbar contains the following
features.
If you want to search through all of the files in a
help system, this check box must be off.
Hide/Show—Click this toggle to hide the
If you previously used this feature, the Search Navigation pane when it is displaying, or show it
tab opens with this check box turned on. when it’s hidden.
HTML Help Viewer Right-Click Menus 625
Back/Forward—Click to move to the previously Search Highlight On/Off—Toggles highlighting on

viewed topic, or forward to the following and off for each occurance of a word or phrase
previously viewed topic. found with a search.
Print—Prints the current topic (if the Topic pane
is active). If the table of contents is active on the
Navigation pane, you can choose to print the
HTML Help Viewer Right-Click
current topic, or the topic and its subtopics. This is Menus
a way of printing a collection of topics. There are several commands on the shortcut menu
Options—Displays the options menu:
that you can use to display information.
Command Description
Right-click in the table of Opens all books or folders in
contents, and then click the table of contents. This
Open All. command only works if the
Contents tab is displayed.
Right-click in the table of Closes all books or folders.
contents, and then click This command only works
Close All. if the Contents tab is
displayed.
Right-click in the Topic pane, Prints the topic.
or an entry in the table of
contents, and then click
Print.
Right-click an entry in the Choose to display, add,
Favorites tab. remove, or rename a topic.
Hide/Show Tabs—Same as Hide/Show buttons,
described above.
Back/Forward—Same as Back/Forward buttons, Keyboard Shortcuts in the Help
described above. Viewer
Home—Displays the main topic of this online The following keyboard shortcuts can be used
system. for navigation in the HTML Help Viewer, or the
Contents (page 3–x), Index (page 3–x), Search
Stop—Halts display of a topic. (page 3–x), orFavorites (page 3–x) tabs on the
Refresh—Redraws the Help Viewer display. Navigation pane.
Internet Options—Displays a dialog to change

Help Viewer
Internet Explorer (IE) settings. Changes you make
To Press
here do not affect the online reference or tutorials,
but do affect your IE browser settings. We do not Close the Help Viewer. ALT+F4
recommend you use this option. Switch between the Help ALT+TAB
Viewer and other open
Print—Same as the Print button, described above. windows.
Display the Options menu. ALT+O
To Press To Press
Hide or show the Navigation ALT+O, and then press T Choose a keyword in the list. UP ARROW and DOWN
pane. ARROW
Print a topic. ALT+O, and then press P, or Display the associated topic. ALT+D
right-click in the Topic pane
and choose Print.
Move back to the previous ALT+LEFT ARROW, or ALT+O, Search Tab
topic. and then press B To Press
Move forward to the next ALT+RIGHT ARROW, or Display the Search tab. ALT+S
topic (provided you have ALT+O, and then press F
viewed it just previously). Type a keyword to search ALT+W, and then type the
for. word
Turn on or off search ALT+O, and then press O
highlighting. Start a search. ALT+L
Return to the home page ALT+O, and then press H Choose a topic in the results ALT+T, and then UP ARROW
(help authors can specify list. and DOWN ARROW
a home page for a help
system). Display the selected topic. ALT+D
Switch between the F6 Search for a keyword in the ALT+U and press ENTER
Navigation and Topic panes. result list of a prior search.
Scroll through a topic. UP ARROW and DOWN Search for words similar to ALT+M and press ENTER
ARROW, or PAGE UP and the keyword. For example,
PAGE DOWN to find words like "running"
and "runs" for the keyword
Scroll through all the links in TAB "run."
a topic.
Search through topic titles ALT+R and press ENTER
only.
Contents Tab
To Press Favorites Tab
Display the Contents tab. ALT+C To Press
Tip: Use this shortcut to Display the Favorites tab. ALT+I
see where a topic fits in the
information hierarchy. Add the currently displayed ALT+A
topic to the Favorites list.
Open and close a book or PLUS SIGN and MINUS SIGN,
folder. or LEFT ARROW and RIGHT Choose a topic in the ALT+P, and then UP ARROW
ARROW Favorites list. and DOWN ARROW
Choose a topic. DOWN ARROW and UP Display the selected topic. ALT+D
ARROW
Remove the selected topic ALT+R
Display the selected topic. ENTER from the list.
Index Tab Notes

To Press • There are also shortcut menu commands
Display the Index tab. ALT+N (page 3–625) that can be accessed through the
Type a keyword to search ALT+W, and then type the
keyboard.
for. word
User Reference 627
• The Match Similar Words check box, on the reference system provides navigation and search
Search tab, will be turned on if you used it for methods to help you to find the MAXScript
your last search. information you want.
Contents—Starting from the topmost topic, you
click to select different levels of topics, proceeding
from more general to more specific. Click a book
icon to see the topics in that book. Click the page
Help Commands icon for the topic you want to display.
Index—Lists keywords for topics alphabetically in
User Reference index format.
Help menu > User Reference Search—All words in all topics are indexed when
the reference was compiled. When you enter the
Click User Reference to display the Autodesk VIZ words you want to search for, the Search engine
User Reference online. This reference provides gives you a list of all topics containing those words.
navigation and search methods to help you to find
the information you want. See also
Contents—Starting from the topmost topic, you About MAXScript (page 1–xiv)
click to select different levels of topics, proceeding
from more general to more specific. Click a book
icon to see the topics in that book. Click the page Tutorials
icon for the topic you want to display. Help menu > Tutorials
Index—Lists keywords for topics alphabetically in
index format. Click Tutorials to display the online tutorials for
Autodesk VIZ. These display as a separate online
Search—All words in all topics are indexed when help syste; a tutorials manual accompanies this
the reference was compiled. When you enter the software package.
words you want to search for, the Search engine
gives you a list of all topics containing those words.
Hotkey Map
See also
Help menu > Hotkey Map
Using the Reference Online (page 3–619)
Finding Information Fast (page 3–620)
MAXScript Reference
Help menu > MAXScript Reference
Click MAXScript Reference to display the

MAXScript Reference online. This separate online
The Hotkey Map is similar to the dialog displayed

during startup. It lets you view the current Autodesk VIZ on the Web
keyboard shortcuts setup on your system
Help menu > Autodesk VIZ on the Web
interactively. When you open the dialog, you can
move your cursor over the parts of the keyboard
The Autodesk VIZ on the Web submenu gives you
image to highlight different areas, showing the
four options:
shortcuts assigned to the various keys. You can
also page through all of the assigned shortcuts by • Online Support—Uses your Web browser to
clicking the arrow in the bottom-right corner of connect to the Autodesk Autodesk VIZ Support
the dialog. site.
• Updates—Uses your Web browser to connect
Clicking the icon at the upper-right corner of
to the Autodesk VIZ Updates & Service Packs
the map refreshes the window.
section of the Support and Services site.
Note: The splash screen and Hotkey Map are based
• Resources—Uses your Web browser to connect
on Macromedia® Flash®. If Flash is not installed on
to the Autodesk VIZ Training page.
your system, these windows will not be available.
• Partners—Uses your Web browser to connect to
the Autodesk VIZ Product Information page.
Additional Help
Help menu > Additional Help Activate Autodesk VIZ
Click Additional Help to display help files for Help menu > Authorize Autodesk VIZ
installed third-party plug-ins and for add-on
products from Autodesk. Choose this command to restart Register Today in
order to enter a new license authorization code.
This command is set by default to look for You’d need to reauthorize Autodesk VIZ, for
third-party help files installed to the \help example, if you’re changing from a trial license to a
subdirectory, though that location may have permanent license.
changed if you’ve edited plug-in path settings
(page 3–535). Plug-in path information is stored If you bypassed the initial registration after
in the plugin.ini file. installing Autodesk VIZ, you can also use this
command to register your copy.
To view help for the plug-ins:
1. Choose Help > Additional Help.
About Autodesk VIZ
2. Choose the plug-in for which you want help.
Help menu > About Autodesk VIZ
3. Click Display Help.
Click About Autodesk VIZ to display copyright

and license information about your copy of
Autodesk VIZ. The About box also records release
and serial numbers, as well as the current graphic
display driver.
appendix b
Troubleshooting Autodesk VIZ
This section describes a collection of problematic

situations and what you can do to diagnose and
fix them. These include many common problems
that are reported to Autodesk Product Support,
and the things you can try in order to resolve the
problems yourself.
When starting to diagnose a problem, by yourself
or with the intent of contacting Product Support,
you should take stock of the situation by answering
the following questions.
• What’s changed since the last time I ran
Autodesk VIZ?
• Has the Autodesk VIZ display configuration
been changed?
• Was an updated video driver or new operating
system service pack installed recently?
• Has Autodesk VIZ been running successfully The error report includes information about
without lock-ups or crashes? the state of your system at the time the error
occurred. You can also add other information that
Automatic Error Reporting is pertinent, such as what you were doing at the
time the error occurred.
If Autodesk VIZ encounters a problem and closes
unexpectedly, you can send an error report to help Interface
Autodesk diagnose problems with the software.
Problem Description group
The Problem Description field lets you outline
what you were doing when Autodesk VIZ
unexpectedly closed. Any information you
provide to help Autodesk technicians understand
630 Appendix B: Troubleshooting Autodesk VIZ
what might have caused the program termination report, if you turned on “Autodesk can Contact me
can greatly help narrow down what caused the for Additional Information about this Problem.”
error so that we can then make the necessary
Phone Number—If you provide a phone number,
repairs.
Autodesk may contact you by phone to discuss the
Include Personal Data—When on, this switch error, if you turned on “Autodesk can Contact me
controls whether your personal data is sent along for Additional Information about this Problem.”.
with your error report submission. Default=on.
Subscription Contract Number—This field is
Less/More—This button controls access to the reserved for your subscription contract number if
Personal Data group. Clicking the Less button you have one.
closes the Personal Data group and changes the
Autodesk can Contact me for Additional Information
appearance of the button to More. The default
about this Problem—If you turn on this switch, it
state is to display the Personal Data group.
lets Autodesk know that they can contact you if
Report Details—Clicking Report Details opens a more information about the error if necessary.
dialog showing you information about the error Note: The information you supply in the Personal
that occurred and the type of information that is Data group is stored, so that, if you ever run into
being sent with the report. another problem, you won’t need to enter this data
again.
Handling File Corruptions

Few things are more aggravating when attempting
to open a scene then encountering an Assertion
Failed error, File Open Failed error, or perhaps
no error at all. The file just does not load. This
typically occurs when the file is corrupt. A number
of factors can cause file corruption, including the
following:
• Some component built in another program has
been imported or referenced with an XRef.
Send Report—Sends the error report to Autodesk, • The scene failed to save properly due to a power
Inc. failure or system crash.
Don’t Send—Aborts transmission of the error • A poorly coded plug-in corrupted an object in
report. the scene.
Personal Data group Problems and Resolutions

Name—If you want, you can add your name to this Assertion Failed Errors
field for submission with the error report. The assertion failed error occurs commonly when
Email Address—If you provide an email address, you try to load a corrupt file. The error gives you a
Autodesk may contact you regarding the error line number and file name where the corruption
Handling File Corruptions 631
occurred. You are then left with the options to

retry or cancel.
Unfortunately, the line number and file often don’t
help because that isn’t necessarily where the error
is actually occurring. Most people click the Retry
option a couple of times then give up, fearing
they’ve lost many hours of work. Don’t panic yet.
There are a number of things you can try before
you have to start rebuilding.
The first thing to try is keep clicking the Retry
button. If there is a corruption to the vertices of
an object, you might have to parse through each
vertex until you bypass the object completely.
For example, Autodesk Product Support once
received a file that returned an Assertion Failed
error referencing a tab.h file. The scene recently You’ll start by seeing if any of the objects or
had an AutoCAD component imported that shapes in the scene are corrupt.
Autodesk VIZ couldn’t understand. However, 4. In the List Types group, on the right, turn
after the support technician clicked the Retry off everything except Geometry, Shapes, and
button 88 times, the scene finally opened. After Groups/Assemblies.
resaving the scene, it opened without incident. 5. Click the All button at the lower left, and then
click OK.
Merging Corrupt Files
If the objects appear in the viewports, you
If normal attempts to open a scene fail, another know the scene components are fine and you’ll
thing you can try is merging the scene. If the file is have to repeat these steps with other List Types
not too corrupted, you would be able to access the turned on.
Merge dialog which shows a list of the components
in the scene. This is a good sign because, with a If the objects merge successfully, and you have to
little effort, you can fix the file yourself. You now try merging in other objects, be sure to first save
need to narrow down which object, or objects, are what you’ve just merged as a basis for rebuilding
causing the load failure. the scene.
1. Start Autodesk VIZ. If you receive an error message, you know one
2. Choose File menu > Merge.
of the objects is the offending item. Then, do as
follows.
3. Browse to the folder containing the model,
1. Reset Autodesk VIZ.
select the model and click the Open button.
The Merge dialog is displayed, showing all the You now have to narrow down exactly which
components in the scene. object in the previous list is corrupt.
2. Once again, choose File > Merge and turn
off everything except Geometry, Shapes, and
Groups/Assemblies.
3. Select the first ten objects in the list of 5. In Autodesk VIZ, choose File > Open and
components and click OK. try loading the file you just copied from the
If those ten objects merge successfully, save the \autoback folder.
scene and repeat the Merge operation with the If it opens, save the scene and rebuild what you
next set of ten objects. Eventually, one of the lost in the last five minutes.
sets of objects you try to merge will report the
You can adjust the Auto Backup settings, located
error message.
on the File Preferences (page 3–548) tab of
4. Keep refining the number of objects you are the Preferences Settings dialog found on the
merging until you have singled out the object Customize menu.
that reports the error.
5. Once you’ve found the corrupt object, reset
Autodesk VIZ and merge all the objects and Fixing Boolean Problems
components except for the object you’ve singled Boolean operations are a powerful addition
out. to your modeling toolbox; however, they can
6. After everything is merged, save the scene and sometimes give strange or unexpected results. The
rebuild the object that was corrupt. Boolean button is found on the Create panel in
the Compound Objects list; it allows you to join,
Granted, this can be a long process, but it’s well
subtract, intersect, and cut objects. Following is a
worth it if you can salvage a majority of the model.
list of problem scenarios and steps you can follow
to fix them.
Remember Backup Files
Tip: Before performing a Boolean operation, you
By default, the Autodesk VIZ automatic backup
should save your scene or use Edit > Hold. That
feature is turned on. It is set to store three backup
way, you can quickly recover should anything not
files that are saved every five minutes. The files
appear as expected.
are stored in the \program files\autodesk viz
2006\autoback folder. Using backup files is
Problems and Resolutions
especially good if your file became corrupt due to
a system crash or power outage. Boolean Objects Disappear
1. Start Autodesk VIZ and verify that you cannot If you mistakenly perform an Intersection Boolean
load the scene. operation on two objects that look like they
intersect, but actually don’t, you can end up in a
2. Open Windows Explorer and browse to the
situation where the object completely disappears.
\program files\autodesk viz 2006\autoback
In the Operands group, you see both your objects
folder.
listed but nothing on-screen.
3. Start by selecting autobak1.max and make a
1. Click the Undo button to retract the Operand B
copy of it.
selection.
4. Browse to the \program files\autodesk viz
2. Right-click to exit the Boolean operation.
2006\scenes folder and paste the file.
3. Verify that the objects intersect by checking
If you want, you can rename it.
them in two viewports, like the Top and Left.
Fixing Boolean Problems 633
4. Click Boolean to turn on the operation, and B button and pick the next object, the previous
click Pick Operand B. operation is negated and the previous Operand
5. Click the intersecting object. B disappears.
The most efficient means to use when joining or
Creases or Ridges Show in Boolean Objects subtracting a large number of objects to or from
Creases or ridges might be caused by a Boolean a single object is to attach all the objects before
operation between an object that has very few faces attempting the Boolean operation.
and an object that has considerably more faces, for As an example, let’s say you’re building a metal
example, when you subtract a complex freeform plate that has a circle of bolt holes. So far, you have
object from a simple box. a flat box, Operand A, and ten cylinders, Operand
Autodesk VIZ tessellates the surface of the box B, passing through it.
so there are additional faces for the subtraction.
Unfortunately, the faces are usually generated as
long, slivered faces that sometimes overlap and
form creases or ridges in the resulting scene, when
rendered.
Before attempting the Boolean operation, try these
steps.
1. Select the object that has the lower face count.
In this example, it would be the box.
2. Change the Length, Width or Height Segments
of the surfaces where the subtraction will occur.
3. From the Compound Objects buttons, click
The future metal plate with circle of bolts
Boolean.
4. Perform the subtraction as you originally 1. Select one of the cylinders.
wanted.
By subdividing the surface with more faces, the
Boolean operation has more faces and edges to
work with. This results in fewer long, sliver-like
faces that can produce creases or ridges.
Consecutive Booleans Results in Disappearing

Components
Booleans are programmed to work with two
operands, Operand A and Operand B. If you plan
to join or subtract many objects from the object 2. Right-click and convert it to an Editable Poly.
that you’ve selected as Operand A, you must click This automatically opens the Modify panel.
the Boolean button after each Operand B selection.
If you don’t, and simply click the Pick Operand
3. From the Edit Geometry rollout, click

Attach List.
This is the little button next to Attach.
4. From the Attach List dialog, select all the other
Cylinders and click the Attach button.
The cylinders are subtracted to form holes in the box.
You only have to perform Boolean operations once

instead of several times. This method is far more
efficient and less prone to errors. It is also very
useful for cutting rough openings for doors and
windows into a wall if you’re already working with
All the cylinders are a single object. 3D geometry. Next, you’ll find an example for
working with 2D spline objects.
5. Select the Box and make sure it has Length,
Width, or Height Segs values that are greater Splines and Boolean Operations
than 1.
Performing Boolean operations on splines made
See Creases or ridges show in Boolean objects from the Create panel > Shapes menu can be
(page 3–x). confusing. 2D spline shapes do not use the
6. Open the Create panel and from the drop-down Boolean operation you’d use for 3D geometry.
menu that shows Standard Primitives, choose Shapes, converted to Editable Splines, offer
Compound Objects. Boolean functionality from the Modify panel >
Geometry rollout. Unlike Boolean operations
7. Click the Boolean button and in the Parameters
performed on two separate pieces of 3D geometry,
rollout > Operations group, make sure
Boolean operations can only be performed on
Subtraction (A-B) is turned on.
single splines.
8. On the Pick Boolean rollout, click Pick
Operand B, and select the Cylinders. Therefore, one of two things must be done before
you can perform Boolean operations to spline
shapes.
• When originally creating the shapes, make sure
Start New Shape is turned off on the Create
panel > Shapes > Object Type rollout. When
turned off, you can create several overlapping
Fixing Boolean Problems 635
shapes that are treated as a single shape made

up of several splines.
Start New Shape in the OFF state (it is on, by default.)
• If you didn’t turn off Start New Shape, you’ll

have to attach all the spline shapes to create a
single shape comprised of multiple splines.
2. Right-click and choose Convert To > Convert
To illustrate the most common situation, let’s say to Editable Spline from the quad menu.
you’ve got three overlapping rectangles and you
The Modify panel automatically opens.
want to subtract the two outer rectangles from the
central rectangle. You also forgot to turn off Start 3. In the Geometry rollout, click the Attach button
New Shape. and pick the two outer rectangles.
Now, you’ve got a single shape made up of three
sub-object splines.
1. Start by selecting the central rectangle.
4. Turn off Attach and scroll up to the Selection

rollout.
5. Turn on the sub-object Spline mode, and

select the central rectangle.
applying modifiers. If you do this, use Edit >

Hold or File > Save As on the scene; you will not
be able to adjust the parameters of the existing
modifiers in the stack.
• Create objects with more faces.
In general, create objects that have more faces
than you might normally use. For instance,
increase the Height, Width, and Length
segments of a Box, especially if the other object
is more complex. Try to make the face count
of both operands similar in number. With a
larger number of faces, the edges created by the
Boolean operation tend to be smoother and
6. Scroll down the Geometry rollout and more refined. Once the Boolean operation gives
click the Boolean button. Also click the you the results you want, apply the Optimize
Subtraction button to the right. modifier to reduce the number of faces on the
7. Pick the two outer rectangles. object.
• Apply the STL-Check modifier.
One way to check the validity of objects that
you intend to use as operands is by applying the
STL-Check modifier. This modifier is primarily
used to verify that an object is a complete and
closed surface in preparation for exporting to
STL files. Because Boolean operations work
best with objects that meet the same criteria, use
STL-Check on your operands. After applying
the STL-Check to an object, turn on Check.
The Status group tells you if errors are present.
The final shape after subtracting the two outer

rectangles Performance Issues While Running
Autodesk VIZ
Tips for Successful Boolean Operations
Slow or sluggish performance while running
Here, you’ll find some general tips that will ensure
Autodesk VIZ can usually be attributed to either
that you’re Boolean operations work the first time.
a video configuration conflict or a memory
• Add a modifier and collapse the stack. allocation problem. The hard thing about
If a set of operands never seems to produce performance problems is narrowing down the
desired results, try adding a modifier and culprit. Here are some common situations that
collapsing the stack to create an Editable Mesh can hamper operation of Autodesk VIZ and steps
or Editable Poly. You can also collapse objects to take to rectify them.
to editable meshes and polys without first
Performance Issues While Running Autodesk VIZ 637
Problems and Resolutions The first thing to check is your system memory
Autodesk VIZ Doesn’t Start Quickly allocation. Per the Autodesk VIZ system
requirements, you should have a minimum of 256
Autodesk Product Support often encounters an MB of physical memory (RAM) and 300 MB of
increase of this situation around the time a new swap space. Recommended RAM is 1 GB with a 2
version or upgrade of the software is released. The GB swap file. Here’s how to check your memory
question usually posed by the customer is, “Why and swap-file allocations.
does the new version take longer to start than the
last version?” There are several reasons. To check RAM and swap-file allocation on Windows
• The size of the executable that starts 2000:
Autodesk VIZ and the additional overhead 1. Right-click the My Computer icon on your
needed to load the new features of a new desktop and choose Properties from the menu.
release can cause a slowdown. Code in a new This opens the System Properties dialog.
executable may use the system processors
in a different way than the last version so a On the General panel, you should see
slowdown may be noticed. The important information about your computer. The amount
thing is how Autodesk VIZ performs once it of RAM should be listed on this panel.
is running. Note: The RAM may be displayed in kilobytes
• Each version of Autodesk VIZ is programmed (KB) instead of megabytes (MB).
and optimized to use newer video technology 2. Open the Advanced panel, and click the
than what was previously available. If you Performance Options button.
haven’t upgraded your video card in the last The Performance Options dialog is displayed.
year, or at least updated video drivers, there is a
3. Check the “Total Paging File Size For All
very good chance Autodesk VIZ will not start as
quickly as in previous versions. You can also try Drives” setting in the Virtual Memory group.
a different Autodesk VIZ video configuration. If you have 256 MB of RAM, you should set the
• If you have not defragmented your system Virtual Memory to approximately three times
recently, Autodesk VIZ could exhibit a slower the RAM, or 768 MB.
start time. Defragmenting the system can also
To check RAM and swap-file allocation on Windows
streamline the loading of large files that tend to XP:
swap to virtual memory.
1. Right-click the My Computer icon on your
Files Take a Long Time to Open desktop and choose Properties from the menu.
The size of a file often defines how quickly This opens the System Properties dialog.
it loads into Autodesk VIZ. However, if you On the General tab, you should see information
notice an increase in load time from one design about your computer. The amount of RAM
session to another, it could be an indication that should be listed on this panel.
Autodesk VIZ is not finding enough memory 2. Open the Advanced tab and click the
to operate efficiently or that the file needs to be Performance Settings button.
optimized.
The Performance Options dialog is displayed.
3. Click the Advanced tab, and check the “Total 4. If set to OpenGL or Direct3D, click the Choose
Paging File Size For All Drives” setting in the Driver button and choose Software.
Virtual Memory group. The Software setting is a generic driver that
If the physical and virtual memory are set works for all video cards. It doesn’t have any
appropriately, then you’ll have to check the video enhancements but it’s a good place to
model. If the model does eventually open, do the begin diagnostics.
following: Note: If you’re switching from Direct3D, you
• From the File menu, choose Save As and save first have to use Revert From Direct3D before
the scene under a different name. Then try choosing the Software configuration.
opening the new file to see if it loads faster. 5. Click OK to close the Graphic Driver Setup
• Review some of the objects you know have large dialog.
modifier stacks. Performance can be improved You will be informed that you have to restart
if you collapse the stacks of objects that you’ve Autodesk VIZ for the change to take affect.
completed.
6. Close the Preferences dialog and exit
• If the model uses XRefs, make sure the XRefs Autodesk VIZ.
are locally accessible. If they’re located on a
7. Restart Autodesk VIZ.
network server, the long load time could be due
to high network traffic. Try opening or dragging dialogs around to see
if performance has improved. If it has, do the
Slow Response to Open or Drag Dialogs following:
This situation is exhibited when you click a • If the software was originally configured for
command that opens a dialog, like the Material OpenGL, try configuring Autodesk VIZ for
Editor or graph window, like Track View. After Direct3D and see if performance is improved.
you click, you notice an appreciable time lag until Or vice-versa.
the dialog or window opens. If you then attempt • Verify that your graphic card supports your
to drag it to a new location, the dialog or window preferred display configuration choice.
does not smoothly follow your cursor. Some cards do not fully support OpenGL or
The usual cause for this is a video driver conflict Direct3D.
or display configuration issue because opening • Visit the Web site of your graphic card
or dragging a dialog causes your graphic card to manufacturer and see if they have any newer
refresh the screen. Try these steps to diagnose the video drivers that you can download and install.
problem.
1. Start Autodesk VIZ. Sluggish Command Response
2. From the Customize menu, choose Preferences. Sluggish command response is closely related to
the previous situation. If you create an object such
3. Open the Viewports panel and check the
as a Box, you might notice that the cursor suddenly
Current Installed Driver.
slows down when you drag it into a viewport.
Most likely, it will be set to OpenGL or Clicking the corners to set the length, width and
Direct3D. height is equally time-consuming. Once again, the
likely cause is video-related.
Problems Caused by Unit Settings 639
1. Start Autodesk VIZ. have to change the System Unit Scale to metric to
2. From the Customize menu, choose Preferences. work in Metric units; just change the units.
3. Open the Viewports panel and check the There are two solutions that often fix this problem.
Current Installed Driver.
Turn on the manual viewport clipping:
4. Make sure you have Autodesk VIZ configured
for the software display driver. You can turn on the manual viewport clipping and
adjust it to see the entire object. Viewport clipping
5. Click OK to close the Graphic Driver Setup
has a Near and Far range setting, if a camera gets
dialog. closer to an object than the Near Clip value, you
You will be informed that you have to restart will see through that object. Likewise, objects
Autodesk VIZ for the change to take effect. that are located beyond the Far Clip value, will be
6. Close the Preferences dialog and exit invisible to the camera.
Autodesk VIZ. 1. Open the problematic scene and select the
7. Restart Autodesk VIZ. camera.
2. In the Parameters rollout > Clipping Planes
Try using the command that was giving you
group, turn on Clip Manually.
trouble and see if it works correctly now.
3. Adjust the Near or Far Clip value, or both.
When you can see the object again, your
Problems Caused by Unit Settings clipping plane is set properly.
The unit settings of a model can often get you into
Scale the entire scene:
trouble. Understanding some of the common
problems can help you avoid them. If it doesn’t matter what units you work in, scale
the entire scene so objects are not affected by
This section addresses the two most common
viewport clipping.
problems that modelers encounter.
1. Open the problematic scene and select
Problems and Resolutions everything.
Objects Disappear When the Camera Gets Close 2. On the toolbar, click Select And Uniform
This situation can happen when you model Scale.
things on a very tiny scale and then have to get 3. Enlarge the entire scene.
very close to them in a Camera or Perspective
Not only do the objects in the scene get larger
viewport. Architectural walkthrough animations
but the distance between objects increases. So,
are notorious for this kind of behavior. You’ve got
the larger you scale the scene, the further your
a camera moving along a path and at some point it
camera is located from the surrounding objects.
gets too close to a wall and you’re suddenly able to
see through to a room on the other side. If you need to work in real world units, such as
Note: This problem is quite common for designers inches or meters, you should set the scale of the
working with the metric system when you want scene before you begin modeling by changing
to use real world metric units and you change the the System Unit Scale value from the default of 1
System Unit Scale to 1 unit=1 meter. You don’t
unit=1 inch to something like 1 unit=0.1 inch or done that caused the button, element or dialog to
even 0.01 inch. disappear.
If you change the System Unit Scale after you have This section addresses several of the most common
begun modeling, you will need to use the Rescale user interface situations and how you can fix them.
World Units utility to rescale the scene.
Zooming and Panning Are Too Fast or Slow Large Fonts and Autodesk VIZ
If zooming and panning are too fast or too slow, While some users like to configure their systems
the most likely cause is the System Unit Scale. to use large fonts, this setting is not recommended
Autodesk VIZ can exhibit round-off errors when with Autodesk VIZ. The Autodesk VIZ user
dealing with extremely large or small distances. interface was designed to operate with your system
These round-off errors can also cause normals set to small fonts. Small fonts are the default setting
to be flipped or strange viewport clipping. for both Windows 2000 and Windows XP.
Autodesk VIZ does not have the numerical
resolution to zoom infinitely from the some If you have your system set to use large fonts, some
remote corner of the solar system down to an ant of the most common anomalies you can expect
on your doorstep. while running Autodesk VIZ are as follows:
If you’re going to change the System Unit Scale, you • Buttons may be missing from the command
should change it before beginning any modeling. panels.
If you do have to set it later, it’s best to rescale • Some text-entry fields may not allow you to
the entire scene with Rescale World Units. For type in them.
example, if working on a tiny scale, like modeling • Garbled text appears in some dialogs.
coins, you might change the System Unit Scale
from the default of 1 unit=1 inch to something like • Text labels in dialogs and rollouts might be cut
1 unit=0.1 or 0.01 inch. For larger scaled scenes, off or overlap other fields.
like an airport, increase the System Unit Scale. • Dialogs show cascading text fields and spinners.
As a rule of thumb, keep the scale such that the To remedy these problems, set your system font
smallest detail is not less than one generic unit. back to small fonts.
If this makes the scene too big to work with 1. Exit Autodesk VIZ.
comfortably and efficiently, you can create separate
2. Go to Start > Settings > Control Panel, and
scenes for models that include cameras for "close"
click Display.
and "far" shots.
You can also right-click anywhere in the open
desktop and choose Properties.
User Interface Problems and 3. Open the Settings panel and click the Advanced
Recovery button.
It’s very aggravating when you can’t find 4. In the Display group, click the arrow to open
something on the user interface, especially when the Font Size list and choose:
you saw it a few minutes ago and now it’s gone • Small Fonts, if running Windows 2000
missing. Of course, you’re so engrossed in your
• Normal Size, if running Windows XP
modeling that you forget what you may have
User Interface Problems and Recovery 641
5. Click Close to exit the Display Properties

dialog.
You will most likely have to reboot the system
for these changes to take effect.
Lost Dialogs and Windows

Autodesk VIZ has many dialogs or windows that
float when you open them. This feature allows
you to drag them anywhere on your desktop. You
can greatly improve your design efficiency by
positioning dialogs out of the way of the main
Autodesk VIZ interface, such as on a second
monitor if you have dual-monitor functionality.
However, there are times when a dialog gets lost.
Either you drag it someplace and inadvertently let
go of it, or some data is written incorrectly to an
initialization file and you end up with a lost dialog.
There are a couple of ways to recover a lost dialog;
both entail working with the 3dsviz.ini file that is
located in the root \program files\autodesk viz
2006\ folder.
Thorough Method
It was visible the last time you rendered, but that
In this example, let’s say you’ve got a single monitor was awhile ago and someone else has been using
that’s configured for 1280x1024 resolution and the system.
you’ve lost your Rendering Progress dialog.
1. Make sure Autodesk VIZ is not running.
The 3dsviz.ini file is constantly being updated
while Autodesk VIZ is running.
2. Open a text editor and load 3dsviz.ini.
3. Scroll down the list of entries until you find the
data block:
[RenderProgressDialogPosition]
Dimension=-425 152 379 866
A dialog’s position is based off the location
of the upper-left corner, anchored by the first
pair of digits. Therefore, in this example, the
upper-left corner of the dialog is -425 pixels
from the left edge of the screen and 152 pixels
from the top. The second pair of digits describe
the horizontal and vertical size of the dialog, so You need to be careful when using this method,
this dialog is 379 pixels wide and 866 pixels tall. because you don’t necessarily know what custom
Since this example assumes a single monitor, settings are saved in the 3dsviz.ini file. Perhaps you
configured for 1280x1024 resolution, this have Autodesk VIZ set to display the command
dialog is off-screen to the left. If the first panel on the left and you’ve changed the viewport
number were greater than 1280, the dialog background color. Furthermore, if you have
would be off-screen to the right. third-party plug-ins installed, they sometimes
write information to the 3dsviz.ini file. If you
4. Place your cursor on the “Dimension” line and
delete the file, you will losing all those settings.
scroll over to the problem number.
If you’re not sure about customized settings that
The problem number is usually the first or
are stored in the 3dsviz.ini file, you can rename the
second, since the last two set the width and
file to something like old3ds.ini. When you restart
height of the dialog.
Autodesk VIZ, you can continue working and, at a
5. Change the problem number to a value that is later time, compare the two files and copy the data
positive and within 1280x1024. you need from the old one to the new one.
6. Save the 3dsviz.ini file and start Autodesk VIZ.
Missing Command Panel
The next time you render, the Rendering Progress
dialog appears appear on-screen. The command panel normally appears along
the right side on the user interface. If you start
This is the preferred method, because it causes no Autodesk VIZ and notice that the command panel
loss to other custom configuration settings that are is missing, there are usually three causes.
stored in the 3dsviz.ini file.
• The command panel is turned off.
Quick Method • You floated the command panel to another
There are really only two reasons you’d use this monitor and attempted to drag it to a new
method: location. When you released the mouse button,
the command panel disappeared.
• You’ve just installed Autodesk VIZ and haven’t
made any customized settings that get stored in • A custom user interface is active that places the
the 3dsviz.ini file. command panel off-screen.
• You’re in a hurry and don’t care about the All of these situations can be quickly fixed by using
customized settings that you have stored in the the following steps.
3dsviz.ini file. 1. Start Autodesk VIZ.
1. Make sure Autodesk VIZ is not running. 2. From the main menu, choose Customize >
2. Open Windows Explorer and browse to the Revert To Startup Layout.
\program files\autodesk viz 2006\ folder. You’ll be warned that all UI settings you’ve made
3. Choose the 3dsviz.ini file and delete it. during the current session of Autodesk VIZ
will be reset.
4. Restart Autodesk VIZ.
A new 3dsviz.ini file is automatically created
using default settings.
Video Driver and Display Problems 643
Missing Transform Gizmos

Whenever you move, rotate or scale an object, the
Three Select And Move buttons.
standard, red axis tripod is replaced by a special
purpose transform gizmo. It’s quite easy to lose This is clearly a user-interface problem, so
the transform gizmo, but it’s also easy to get it reverting to the startup layout will fix this problem.
back. If you find you’ve lost your transform gizmo, 1. Start Autodesk VIZ.
try these steps.
2. From the Customize menu, choose Revert To
1. Start Autodesk VIZ.
Startup Layout.
2. Press the X key.
If you have multiple buttons and don’t want to reset
This is the keyboard shortcut that toggles the the entire UI, you can manually remove duplicate
transform gizmo on and off. buttons by doing the following:
3. Press the = key. • Hold down the ALT key and drag the duplicate
This keyboard shortcut increases the size of the button out of the toolbar.
transform gizmo. The – sign reduces the size. Click Yes when asked to confirm the deletion
4. Open the Customize > Preferences > Gizmos of the button.
panel, and match your setting to the default If buttons are missing, you must use Revert To
settings shown in the following image. Startup Layout.
Video Driver and Display Problems

Because Autodesk VIZ heavily relies upon the
graphics card in your system, many problems that
you may encounter while using the program can
be attributed to the video. Such problems could be
slow performance, refresh delays, user interface
discrepancies, and so forth.

Basic Troubleshooting Start Point
As a rule of thumb, before attempting to diagnose
any problem with Autodesk VIZ, you can be
more efficient in your diagnostics by resetting the
Multiple or Missing Buttons on the Toolbars display configuration to its default value. After
you first install and start Autodesk VIZ, you’re
This is another tricky situation. You open a toolbar
presented with the Graphics Driver Setup dialog.
and find that there are duplicate buttons present or
the button you expect to find is no longer there.
Note: This problem is caused by holding the CTRL
key and dragging a button on the toolbar.
1. Start Autodesk VIZ from the command line.

Choose Start > Run.
2. Click the Browse button, browse to the
\program files\autodesk viz 2006\ folder and
select 3dsviz.exe.
3. Click Open on the Browse dialog but do not
click OK on the Run dialog.
4. On the Run dialog, place your cursor at the
end of the command line and add -h to the
string.
It should read something like; c:\program
files\Autodesk VIZ 2006\3dsviz.exe -h
If you’re configured for OpenGL, Direct3D, 5. Click OK on the Run dialog.
or Custom, choose the Software driver. By
Autodesk VIZ will start and display the
configuring for the Software driver, you can
Graphics Driver Setup dialog, just as it did
disqualify the video card or drivers if the problem
the first time you started Autodesk VIZ after
you’re encountering persists while running
installing.
Autodesk VIZ.
6. Choose the Software driver and try
• Resetting the configuration from within
performing the task that was giving you
Autodesk VIZ.
problems once the program opens.
1. Choose Customize menu > Preferences.
If the problem does not persist, you know that
2. Open the Viewport panel and check your you’ve encountered a display problem. If this is
currently installed driver. the case, check the following with regards to
If it’s not the Software driver, proceed. your video card:
Otherwise, you can cancel and begin the • Verify that the video card supports the
diagnostics elsewhere. driver you attempted to use.
3. If set to OpenGL, Direct3D, or a custom Some cards don’t fully support OpenGL or
driver, click the Choose Driver button. Direct3D.
The Graphics Driver Setup dialog is • You might not have the latest video drivers
displayed. for the card.
4. Choose Software and click OK. Contact the board manufacturer for updated
You’ll see a message that the changes will take drivers.
effect the next time you start Autodesk VIZ. • If you were originally configured for
5. Exit Autodesk VIZ and restart the program. OpenGL, try Direct3D, or vice versa.
6. Try performing the task that was giving you The driver for the graphics card may have
problems. better support for one driver than other.
• Resetting the configuration before starting
Autodesk VIZ.
Direct3D Failed to Initialize Message • Shut down some of the other programs that are
concurrently running with Autodesk VIZ.
Autodesk VIZ supports both DirectX 8.1 and
DirectX 9. When configuring the display settings, • Reduce the size of the Autodesk VIZ interface.
you choose DirectX 9 and start Autodesk VIZ only • Reconfigure Autodesk VIZ to use a different
to receive a message telling you that “Direct3D display driver.
failed to initialize. Please make sure you have the
latest version of DirectX installed.” Dual-Monitor Configuration
This usually means your card doesn’t support Many board manufacturers are building graphic
DirectX 9 or you don’t have DirectX 9 installed. cards that support multi-monitor configurations.
Revert the Direct3D version back to DirectX 8.1 The cards might advertise hardware features
and confirm that you are running the latest version like “Dual Head” or “Multi-Head” that
of DirectX. have two monitor ports built into them.
1. Choose Start > Run. Other manufacturers choose to handle dual
configuration through video drivers that let you
2. In the Open field, type dxdiag and click OK.
configure your system display in “Wide” mode.
3. On the System tab, check the DirectX version. Here are the details of what you need to watch out
If it shows DirectX 8.1, you need to download for when configuring a multi-monitor system.
the newer version from Microsoft. • Hardware “Dual Head” Solution
Many newer video cards offer this hardware
Direct3D Reports a Memory Warning
solution for setting up a dual-monitor system.
You may encounter a memory warning when These graphic cards are usually AGP cards and
starting Autodesk VIZ if you’ve configured the have two monitor ports. Since these boards
program to use the Direct3D driver. have two ports and your system has only one
AGP slot, you can only drive dual monitors.
After installing the card and drivers, you want
to follow the manufacturer’s instructions for
configuring your system. Configuration is
done through your system’s Display Properties
dialog > Settings panel.
This warning dialog usually appears if you have

several programs, that heavily impact the video
memory of your graphics card, running and you
have the Autodesk VIZ interface maximized or
stretched to cover most of the display.
Your quickest options for bypassing this warning
are as follows:
PCI slots in your system, you could theoretically

drive four monitors. However, in order for
these cards to operate at the best resolutions,
each card needs to have the same amount of
video RAM (vRAM) installed. So, if your had
two cards and one had 32 MB of vRAM and the
other only had 8 MB, you can only configure to
the highest resolution supported by the 8 MB
card.
Display configuration is normally done through
the video drivers so you have the option to
configure wider screen areas. For example,
instead of configuring each display individually
to 1280x1024, as described above, you would
treat both monitors as a single display and
configure the screen area to 2560x1024 pixels.
You are presented with a diagram for each Spanning Across Monitors
monitor and you can set the resolutions Whenever, you start Autodesk VIZ, the user
independently by selecting a monitor and interface spans across both monitors. You find
adjusting the screen Area slider. You will also yourself constantly resizing the program to fit on
often find utilities included with the drivers that one screen so you can see the programs located
enable special features for the graphics card. on the other screen.
The disadvantage to this configuration is that This is usually a problem on systems that let you
one monitor is a primary while the other configure both monitors as one, in “Wide” mode.
secondary, so performing some tasks can The utility software that loads with the graphic
only be done on applications positioned on card manufacturer’s drivers probably has a feature
the primary monitor. For instance, if you use that forces programs to open across the entire
screen-capture software, you can have that expanse of the display. You can turn off this feature
program open on the secondary monitor, but and programs will open in the last position and
if you want to capture an image, you can only size you gave them.
capture images of applications that are located
on the primary monitor. Viewport Transparency
• Software Driver Solution After starting Autodesk VIZ, the user interface
The software solution to multi-monitor appears but you can see the system desktop
configuration is often found in older graphic through each of the viewports. This problem
cards that fit into your PCI slots. Each board normally occurs if you have the display
has a single port to accept a monitor and the configuration set to either OpenGL or Direct3D
video drivers give you the option to configure and your graphics card does not completely
a single display in “Wide” mode to encompass support OpenGL or Direct3D.
multiple displays. Also, because you have four
If configured for Direct3D, you might also see this

problem coupled with the “Direct3D initialization
failed” message.
To remedy this problem, follow the steps outlined
in Basic troubleshooting start point (page 3–x)
and configure for Software. If Autodesk VIZ
opens correctly in this mode, check the video card
manufacturers for updated drivers for the display
mode you’d prefer to use.
glossary
Glossary
or to import complex geometry in which the face

Glossary normals are not properly unified.
This section of the Help system contains There are two ways to render both sides of a face.
explanations of concepts and terms used in the Either turn on the Force Two Sided option in the
reference, arranged alphabetically. Render dialog, or apply a two-sided material to
the geometry.
2-Sided (Double Sided) Usually, you want two sided rendering turned off
since it slows rendering time. However, if you
want to render the inside as well as the outside of
objects, or if you’ve imported complex geometry
(for example, from AutoCAD) in which the face
normals are not properly unified, you can use
one of the methods above to render each face
regardless of its normal’s orientation. You can
also unify normals explicitly by using the Normal
modifier (page 2–167).
2D Map
Rendering of a box with a double-sided material, and same
A two-dimensional image or pattern. A 2D map
box with a single-sided material requires mapping coordinates to render and
appear in viewports. See 2D Maps (page 2–1199).
In Autodesk VIZ, faces are one-sided. The front is
the side with the surface normal (page 3–704). The
back side of the face is invisible to the Renderer; 3D DWF
meaning the face appears to be missing when
viewed from the back. Objects are usually created From Design Web Format. A highly compressed
with the surface normals facing outward, but it is file format that is created from a MAX file. DWF
possible to create objects with the faces flipped
650 Glossary
files are easy to publish and view on the Web using • All map parameters, including UV transforms,
the Autodesk DWF Viewer. Negative, Mirror, and Rotation. Some Map
Parameters such as Blur, Luma, and RGB and
Alpha work much differently. These values are
3D Map converted to new values that produce a similar
effect.
A pattern generated procedurally in three
dimensions. A 3D map does not require mapping • Mask bitmaps are imported as a mask texture.
coordinates in order to render. However, a 3D • When materials with both Texture 1 and
map will appear in viewports only if the object to Texture 2 are imported, a composite texture is
which it is applied has mapping coordinates. See created and added to the Standard material’s
3D Maps (page 2–1236) Diffuse channel.
• Reflection maps, auto-cubics and mirrors.
3DS and PRJ Files • Automatic reflection map Nth frame and Map
Size settings.
3DS is the 3D Studio R4 mesh-file format and PRJ
is the 3D Studio R4 (for DOS) project-file format. • SXP translation for Marble and Noise materials.
You can import both these types of files into the • 3DS/DOS IK joint parameters.
software, as well as DXF and SHP files. You can • 3DSurfer patch data.
export 3DS files and DXF files.
The following information is not imported from
See also a 3DS file:
Importing 3DS Files (page 3–141) • Keyframer instances

• Map channels that are turned off
Importing PRJ Files (page 3–142)
• Custom .CUB-format cubic maps
Exporting to 3DS (page 3–143)
• Decal transparency using the RGB color of the
Importing PRJ and 3DS Files upper-left pixel of the map
When you import a PRJ file, you get all of the
When you import a 3DS file, you get the following:
above, plus Shapes.
• Backgrounds (solid, gradient, and bitmap).
• Fog, Layered Fog, and Distance Cue. Exporting to 3DS Files
• Ambient light level. The following rules determine what is exported
• Subtractive transparency is converted to "Filter" to the 3DS format:
transparency, and the filter color is set equal to • Position, Rotation, and Scale animation. If the
the diffuse color. controller is a TCB controller, the TCB, Ease
• Transparency falloff settings. In, and Ease Out values are also saved. If the
controller is any other type of key controller, the
• All map channels that are enabled. Map
keys are saved but the tangent information is
channels that are turned off in the .3ds file do
lost. If the controller is not a key controller, only
not import.
the object’s transformation at frame 0 is saved.
Active Link 651
• Basic material color/parameters from the

Standard material. Active Link
• Single maps with their amount, offsets, scales,
etc.
• Composite and procedural maps don’t export.
• Auto-cubics and Mirrors export.
• UV mapping coordinates can be exported.
UV mapping coordinates are exported if the
toggle Preserve MAX’s Texture Coordinates
is turned on in the Export Scene to .3DS File
dialog. See Exporting to 3DS (page 3–143).
A vertex in a 3DS file can have only one texture
coordinate. If a vertex in the Autodesk VIZ
file has multiple mapping coordinates, it is
split into multiple 3DS vertices on export, to File Link Manager showing an actively linked drawing.
preserve the mapping.
When you use the File Link utility to link a
• Grouped object transformations don’t export
drawing to Autodesk VIZ, the objects have an
to the 3D Editor because there’s no concept of
active link with the original drawing in AutoCAD
group hierarchy in the 3D Editor. Groups do
or Autodesk Architectural Desktop. This means
export to the Keyframer because the Keyframer
that any edit made to the drawing in AutoCAD
understands hierarchies.
or Architectural Desktop can be immediately
• Target cameras, target spotlights and omni updated in Autodesk VIZ by reloading the link.
lights.
The red flag in the file list means the drawing
• Most "static" parameters for cameras and has been changed in AutoCAD or Architectural
lights, and animation tracks for Roll, Falloff, Desktop and you should click the Reload button to
Hotspot, and FOV are exported. Global shadow update the scene in Autodesk VIZ.
parameters are not exported.
The Detach button will cause the drawing file that
• All non-mesh geometry, such as procedural
is linked to Autodesk VIZ to be removed from the
primitives and patches, are collapsed to meshes
scene and removed from the File Link Manager.
before export.
• Objects are exported as they exist on the frame Clicking the Bind button will bind the drawing
that displays at export time. to Autodesk VIZ and sever the active link with
AutoCAD or Architectural Desktop.
• Meshes are saved with edge display information
and smoothing groups.
• Instances are saved as Keyframer instances. Active Time Segment
The active time segment is the total range of
frames that you can access using the time slider
(page 3–430).
652 Glossary
By default, the active time segment runs from can choose as many levels as you want, but you are
frames 0 to 100, but you can set it to any range advised to choose only one or two levels for each
from the Time Configuration dialog (page 3–447). type of degradation.
In addition, the active time segment can include Note: When you use Arc Rotate (page 3–466) in
negative frame numbers, so you can create keys a shaded viewport while Adaptive Degradation
before frame 0 and work in negative time. Override is off, objects degrade to bounding boxes
You can change the active time segment whenever regardless of the adaptive degradation settings.
you want without affecting the keys you’ve already The Adaptive Degradation Toggle is accessed from
created. You might think of it as a window in time, the Views menu; you can also use the O (letter ’o’)
specifying only that portion of your animation in keyboard shortcut to toggle it on and off.
which you want to work. Thus, if you have keys
scattered over a range of 1000 frames, you can
narrow your active time segment to work on only Additive Opacity
frames 200–300 without affecting the keys outside
of the segment. An additive process adds two values together,
such as two colors. When you add colors in
Autodesk VIZ, the result is brighter than either of
Adaptive Degradation the two original colors.
Adaptive degradation changes the display in Additive Opacity

shaded viewports so the display can keep up with
the current operation. For example, while you are
zooming a viewport, the display might change
from shaded to boxes during the zoom operation,
then change back to a shaded display when you
have finished zooming.
The Adaptive Degradation Toggle (page 1–32),
when turned on, causes viewport display to
degrade according to settings on the Adaptive
Degradation panel (page 3–591) of the Viewport
Configuration dialog. When the Adaptive
Degradation toggle is turned off, viewports retain
their display settings at all times, but operations Sphere on the right uses additive opacity.
such as zooming or animation playback cause a
slow screen refresh rate. In this state, animation Additive opacity brightens the colors behind the
playback might have to drop frames to keep up material by adding the material’s colors to the
with real-time playback. background colors. Additive opacity is good for
special effects such as light beams or smoke. You
You can set the parameters that control the specify the use of additive opacity on the Extended
trade-off between display quality and display Parameters rollout (page 2–1097).
speed. The selected levels determine which
rendering levels the software falls back to when it
cannot maintain the desired display speed. You
Affine Transformation 653
Additive Opacity and the Alpha Channel

Aliasing/Antialiasing
By default, additive opacity does not generate an
alpha value. In other words, the alpha value is zero,
indicating no transparency. This gives correct
results with backgrounds in renderings, but if you
want to composite objects with additive opacity
using a compositing program, you might want to
have additive opacity render with transparency.
To do so, add the following line to the [Renderer]
section of the 3dsviz.ini file, and then restart
Autodesk VIZ: Pyramid is aliased on left, antialiased on right.
AlphaOutOnAdditive=1 Aliasing is the staircase effect at the edge of a line

or area of color when it’s displayed by an array of
To revert to the default method of rendering
discrete pixels.
additive opacity, in the 3dsviz.ini file, change the
value of AlphaOutOnAdditive back to 0 (zero), Antialiasing smoothes the staircase effect that
and then restart Autodesk VIZ. occurs when diagonal or curved lines or borders
are drawn on raster displays consisting of square
See also or rectangular pixels. Antialiasing can be either on
Subtractive Opacity (page 3–735) or off. Turn this off only when you’re rendering
test images and want greater speed. Leave it on at
all other times.
Affine Transformation You can also turn antialiasing off for the Material
A geometric transformation such as move, Editor sample slots to speed up redraw of the
rotation, or scale, that can alter distances between sample objects. Click the Options button in the
points or angles between lines, but preserves Material Editor and turn on the Antialias toggle on
straight lines and the parallel relation between the Material Editor Options dialog. Default=off.
parallel lines. Transform operations are affine Note: To control whether or not a background
transformations. NURBS (page 2–456) are image is affected by the renderer’s antialiasing
invariant under affine transformations. filter, choose Customize > Preferences >
Rendering and then turn on Filter Background in
the Background group. Default=off.
654 Glossary
is 32-bit, with the extra 8 bits of alpha providing

Alpha Channel 256 levels of transparency.
Autodesk VIZ creates the alpha channel
automatically when you render. Any background
pixels in the rendered image are fully transparent,
and the alpha channel also accounts for any other
transparency that you create via materials, etc.
You can see this in the rendered frame window
(page 2–1318) by clicking the Display Alpha
Channel button on the toolbar: In the resulting
display, black pixels are fully transparent, white
Alpha channel shown in black, on the right
pixels are opaque, and gray pixels show degrees
Alpha is a type of data, found in 32-bit bitmap of transparency. To return to the regular display,
files, that assigns transparency to the pixels in the click Display Alpha Channel again.
image.
To output a rendered image with alpha, save in an
A 24-bit truecolor file contains three channels alpha-compatible format such as TIFF or Targa.
of color information: red, green, and blue, or With Targa, the default settings include saving
RGB (page 3–722). Each channel has a particular alpha; with TIFF, be sure to turn on the Store
intensity or value at each pixel. The intensity of Alpha Channel check box.
each channel determines the color of the pixel in
the image.
By adding a fourth, alpha channel, the file can
Ambient Color
specify the transparency, or opacity, of each of the Ambient color is the color of an object where it is
pixels. An alpha value of 0 is transparent, an alpha in shadow. This color is what the object reflects
value of 255 is opaque, and values in between when illuminated by ambient light rather than
are semi-transparent. Transparency is important direct light.
for compositing (page 3–664) operations, where
Ambient color areas in the scene will not appear
several images are blended together in layers.
any darker than the ambient light setting (page
An alpha channel is particularly useful for the 3–655).
partly transparent pixels around the aliased (page
You can lock a material’s ambient color to its
3–653) edge of an object in a rendered image.
diffuse color so that changing one automatically
These pixels are used for compositing. An image
changes the other.
such as the one shown above can be composited
smoothly onto a different background if an alpha
channel is produced and saved with the image.
Each channel of a truecolor bitmap file is defined
by 8 bits, providing 256 levels of intensity. Thus, an
RGB file is 24-bit with 256 levels each of red, green,
and blue. An RGBA file (red, green, blue, alpha)
Ambient Light 655
Ambient Light Animation

Animation is based on a principle of human
vision. If you view a series of related still images
in quick succession, your brain perceives them as
continuous motion. Each image is called a frame.
Historically, the major difficulty in creating
Left: No ambient light animations has been that the animator must
Middle: Low ambient light produce a large number of frames. Depending on
Right: User-adjusted ambient light
the quality you want, one minute of animation
might require between 720 and 1800 separate still
Ambient light is the general light that illuminates images. Creating images by hand is a big job.
the entire scene. It has a uniform intensity and is That’s where keyframing comes in.
uniformly diffuse. It has no discernible source and
no discernible direction. Most of the frames in an animation are routine,
incremental changes from the previous frame
By default, there’s no ambient light in a scene. If directed toward some predefined goal. Early
you examine the darkest shadows on your model animation studios quickly realized they could
with the default ambient light setting, you cannot increase the productivity of their master artists
make out the surface because it’s unlit by any light. by having them draw only the important frames,
Shadows in your scene will not appear any darker called keyframes. Assistants could then figure
than the ambient light color, which is why you out the frames that were required in between the
usually keep ambient light set to black (or a very keyframes. These frames were (and still are) called
dark color). tweens.
If you use photometric lights and a radiosity Use the software as your animation assistant. As
solution (page 2–1350), ambient light is accurately the master animator, you create the keyframes
calculated. that record the beginning and end of each
If you use standard lights, a good lighting test is to transformation. The values at these keyframes
set your ambient lighting to black (the default), set are called keys. The software calculates the
up all your lights, and then decide at the end if you interpolated values between each key value,
need to increase the ambient light. resulting in tweened animation.
Most animation in Autodesk VIZ involves the
transformation (moving, rotating, or scaling) of
Animated Texture objects, objects moving along motion paths, and
An animated texture is a material whose properties camera animations such as walkthroughs. Use
change over time. One example of this is assigning Autodesk VIZ to animate cameras flying around,
a multi-frame bitmap (for example, an AVI file or over and through your design. You can also
an IFL image-file sequence) as a map. animate things like doors and windows opening,
elevators rising, and other such object movements.
For shadow studies you can animate the time of
day using the daylight system.
656 Glossary
Note: For more complex animation requirements

such as sub-object animation or animating Applied IK
material characteristics, you should use 3ds Max A type of inverse kinematics where one or more
The quickest way to animate is to turn on Auto-Key parts of the IK structure follows another animated
(page 2–672) and start transforming objects at object exactly. After the scene is set up, Applied
different frames. Each time you transform an IK generates transform keys for every object in
object, you set a key. Then you can play the the IK chain.
animation onscreen (page 3–445), or render it to a See Animating with Applied IK (page 2–799).
file (page 2–1322).
Area Lights (mental ray Renderer)

Animation Controllers / Transform
Controllers Area lights are a feature of the mental ray renderer.
Instead of emitting light from a point source, they
All animation in the software is performed emit light from a broader area around the source.
through animation controllers. The most common Area lights create soft-edged shadows. This can
animation controllers, those for move (position), help improve the realism of your rendering.
rotate, and scale, are also referred to as transform
controllers.
Each animation track has its own controller, and
each controller can be different.
In the hierarchy list, the controller tracks are
represented by controller icons. The icons can
appear differently depending on the controller that
is assigned, for instance a Noise Float icon differs
from a Bezier Float icon. You can also see which
specific controllers are assigned to each track by
turning on the controllers display in the Track
View (right-click Filters in the Track View toolbar,
and choose Controller Types from the list). The Scene rendered with area light turned off
controller names appear beside the tracks to which Shadows are ray-traced.
they’re assigned. The yellow cube indicates the light’s location.
You can assign different controllers to the tracks,

affecting the way they respond. The Bezier
Controller, assigned by default to all the Position
tracks, lets you move objects using the Select
and Move transform tool, and converts those
movements into Bezier splines. You can adjust the
splines in Function Curve editing mode.
Area Shadows 657
dialog > Common panel > Common Parameters

Area Shadows
Scene rendered with area light turned on, showing soft

shadows
The light in this rendering is a 2D (spot) area light.
The shape of the shadow-casting region changes the shape

of area shadows.
Area shadows simulate shadows generated by a

light with area or volume.
Aspect Ratio
Scene rendered with a 3D (omni) area light

The light uses the default radius of 20.0.
Note: To render soft-edged shadows, shadows

must be ray-traced, not shadow-mapped. See the
Render Scene Dialog > Renderer panel > Shadows
& Displacement rollout (page 2–1411).
Area lights support global illumination, caustics,
and other features of the mental ray renderer.
Tip: Area lights take longer to render than point
lights. If you are interested in creating a quick
test (or draft) rendering, you can use the Area
Lights/Shadows As Points toggle to speed up your
rendering. This toggle is on the Render Scene Various aspect ratios
658 Glossary
Aspect ratio describes the proportions of a still the square of the distance from the light source.
image or the frames in a movie, expressed as the It is common for attenuation to be even greater
ratio of width to height, regardless of the image’s when light is occluded by small particles in the
resolution (page 3–723). atmosphere, especially when there are clouds or
fog present.
Aspect ratio is usually expressed either as a ratio
of width over height (for example, 4:3) or as a
Attenuation and Photometric Lights
real value relative to 1 (for example, 1.333). For
example, pre-1950s movies and 35 mm slides have Photometric lights always attenuate at the inverse
an aspect ratio of 4:3. square rate. This is one of the reasons it is
important for scenes with a radiosity solution to
Aspect ratios are used anywhere a bitmap is
use real-world dimensions and units.
created or used. For example:
• When preparing to render, you can specify an Attenuation and Standard Lights
aspect ratio for your rendered images with the
By default, standard lights don’t attenuate.
Image Aspect parameter on the Render Scene
Consequently, an object’s distance from the light
doesn’t matter, and only the angle of light to the
• When setting up a viewport background (page surface has any effect on illumination unless you
1–36), you can specify whether to use the turn on attenuation. You can manually control the
viewport, bitmap or rendering output aspect rate of attenuation for standard lights. You can also
ratio to display the bitmap. use attenuation with the Raytrace map. If your
• When you make a spotlight a projector (page scene uses standard lights, you should consider
2–970), you can use the Bitmap Fit option adding attenuation whenever possible, for two
to match the spotlight’s aspect ratio to the reasons:
bitmap’s, and thus prevent the bitmap from • Attenuation provides greater subtlety and
distorting. realism in your lighting.
• You can reduce rendering time, since attenuated
lights don’t have to be calculated for surfaces
Attenuation
that are beyond the attenuation range.
For standard lights, you can explicitly set where
attenuation begins and ends. This is partly so
you don’t have to worry about setting up strictly
realistic distances between light objects and the
objects they illuminate. More importantly, this
feature lets you fine-tune the effect of attenuation.
Image on right rendered with attenuation
In outdoor scenes, attenuation can enhance the
In the real world, the intensity of light diminishes effect of distance. In an indoor setting, attenuation
over distance. Objects far from the light source is useful for low-intensity light sources such as
appear darker than objects near the source. This candles.
effect is known as attenuation.
For standard lights, you set attenuation parameters
In nature, light attenuates at an inverse square rate; on the light’s Intensity/Color/Attenuation rollout
that is, its intensity diminishes in proportion to
AutoGrid 659
(page 2–975). For the Raytrace map, you set the

parameters on the map’s Attenuation rollout (page B-Spline
2–1278). B-spline (basis spline) is a kind of spline generated
by so-called basis functions. The advantage of
B-splines over Bezier curves (page 3–660) is that
AutoGrid the control vertices (CVs) of a B-spline affect only
AutoGrid is an option on the Autodesk VIZ Create their local region of the curve or surface. B-splines
panel. It lets you create an object on the surface of also compute faster than Bezier curves.
another object. You can turn on AutoGrid when
you create a biped, in order to position the biped
on another object. Barycentric Coordinates
AutoGrid can also be used when creating footsteps Given a triangle between points A, B, and C,
manually, to place footsteps on an uneven terrain. each point X on the surface of the triangle can be
represented by a weighted sum of the corners:
X = a*A + b*B + c*C
Axonometric View
where a, b, and c are numbers between 0 and 1 and
a+b+c = 1.
These numbers are called the barycentric
coordinates of the point X. There is one unique
set of barycentric coordinates for each point on
the triangle.
Examples
The center of gravity of the triangle is given by the
barycentric coordinates (1/3, 1/3, 1/3): X = 1/3 A
+ 1/3 B + 1/3 C = (A+B+C)/3.
Axonometric view of model If one of the barycentric coordinates is zero, the

point X must lie on the opposite edge. For instance:
A projected view of 3-dimensional space that
displays from one to three sides of an object. The if a=0, X = b*B + c*C
lines in an axonometric view do not converge to where b+c=1
vanishing points as they do in a perspective view,
so lines that are parallel in 3D space are parallel This means that X is on the line segment BC.
in the view. For this reason, diagonal and curved If a=1, on the other hand, then b=c=0, and X must
lines can appear to be distorted. be exactly the point A.
Isometric (page 3–690) and orthographic (page
3–710) views are special cases of axonometric
views.
660 Glossary
Bitmaps can be reloaded automatically after they

Bezier Curve have been changed and resaved by a graphic
editing program. See the Reload Textures On
Change toggle in Preferences Settings > Files panel
(page 3–548).
Autodesk VIZ can use the following image file
formats as bitmaps:
avi (page 3–252)
bmp (page 3–253)
cin (page 3–253)
cws (page 3–254)
Bezier curve and the control points and tangent vectors
about each vertex Autodesk Flic Image File: (flc (page 3–255), fli, cel)
A curve modeled using a parametric polynomial dds (page 3–254)

technique. Bezier curves can be defined by many gif (page 3–255)
vertices. Each vertex is controlled by two other
points that control the endpoint tangent vectors. Radiance Image File: (hdr (page 3–256), pic)
Bezier curves were developed by P. Bezier for ifl (page 3–259)
computer modeling in automobile design.
jpg (page 3–263)
A vertex on a Bezier Curve affects the entire curve
in that area. Compare with B-splines (page 3–659), mov (page 3–263)
where the control vertices (CVs) affect only their png (page 3–271)
local region of the curve or surface.
psd (page 3–271)
A segment on an editable spline (page 1–268) that
has its vertices set to Bezier or Bezier Corner is rgb (page 3–276)
considered a Bezier Curve. rla (page 3–273)
rpf (page 3–274)
Bitmap tga (page 3–276)
A bitmap is a still image produced by a fixed tif (page 3–277)
matrix of colored pixels (page 3–715), like a
mosaic. You can use bitmaps as textures for
yuv (page 3–278)
materials, as backgrounds to viewports, and as Note: Autodesk VIZ can also render to some of
rendered environments. these formats, but not to all of them. See the topic
for the individual image format for details.
You can use an animation or video file as a bitmap,
in which case the material or background changes
over time.
Blend Object 661
incoming entities are to be organized in the scene.

Blend Object Objects in DWG files are commonly organized by
layers, blocks, and entities, while Autodesk VIZ
scenes are organized by parent/child hierarchies
of objects.
The main difference between a Block/Style Parent
and a VIZBlock is that a Block/Style Parent allows
for a parent/child hierarchy of “components,”
but does not display any of its own geometry. A
VIZBlock displays its own geometry and lists a set
of “components,” or sub-objects.
Blur / Blur Offset

NURBS blend surface
A dependent NURBS object that connects two

curves or two surfaces. The curvature of the blend
is controlled by the objects it connects, and by
two tension parameters that control the "length"
of effect of the tangent for each of the "parent"
objects.
Block Reference
In AutoCAD, a compound object that is inserted
into a drawing and displays the data stored in
Top: Blur = 1, Blur Offset = 0
a block definition. A block reference is also
Middle: Blur = 10, Blur Offset = 0
sometimes referred to as a Block Instance. Refer
Bottom: Blur = 0.01, Blur Offset = 0.2
to the AutoCAD, Autodesk Architectural Desktop,
or Autodesk Mechanical Desktop help files for The Blur and Blur Offset controls determine how
further information regarding Blocks, Block a 2D map is blurred, or how it is softened in the
Instances, and Block References. rendering. You can’t see their effect in the viewport
renderer, only in the production renderer.
The Blur setting blurs the map based on its
Block/Style Parent
distance from the view. The farther away the map
A Block/Style Parent is closely related to a is, the greater the blurring. You should always use
VIZBlock (page 3–745) in that it is a compound some blurring on your maps to avoid the type of
object similar to a nested AutoCAD block. Just scintillation, or aliasing that can occur when pixel
like the VIZBlock, it is used for organizing linked details are reduced off in the distance. This effect
data from DWG files. When linking DWG data typically occurs when you use detailed bitmaps
to Autodesk VIZ, you need to decide how the viewed at a distance, and is particularly apparent
662 Glossary
during animations. The Blur default is 1.0, which the operands (A and B) and the Boolean object
is a good setting for most purposes. itself is the result of the operation.
Blur Offset blurs the map without regard to depth. For geometry, the Boolean operations are:
That is, all the pixels in the map are blurred • Union: The Boolean object contains the volume
equally, regardless of how close or how far they are of both original objects. The intersecting
from the camera. or overlapping portion of the geometry is
Whereas the Blur value is primarily used to removed.
avoid aliasing, Blur Offset is useful when you • Intersection: The Boolean object contains
want to soften, or defocus the details in a map. only the volume that was common to both
It’s the equivalent of blurring the bitmap in an original objects (in other words, where they
image-processing program before applying it as a overlapped).
material map.
• Subtraction (or difference): The Boolean
Note: For bump mapping (page 2–1131), lower object contains the volume of one original
Blur and higher Blur Offset values give better object with the intersection volume subtracted
results. from it.
Boolean Operation Bound Vertex

Binding spline vertices via the Refine and Bind
functions in Editable Spline (Vertex) (page 1–268)
is useful for connecting splines when building a
spline network for use with the Surface Modifier
(page 2–212).
Bound vertices are black, allowing them to be
easily distinguished from standard vertices. You
cannot move a bound vertex directly. However,
changing the segment length by scaling it or by
moving a connected vertex causes the bound
vertex to shift its position in order to remain at
the segment’s midpoint. You can change a bound
The fence is operand A, and the cat is operand B. vertex’s type (right-click the vertex, and then
Upper left and right: A minus B choose the type from the bottom of the right-click
Second to upper left: B minus A menu), and if you convert it to a Bezier or Bezier
Second to lower left: Union corner, you can manipulate its handles.
Lower left: Intersection
A Boolean object combines two objects by

performing a Boolean operation on them. In
the software, a Boolean object is made from two
overlapping objects. The original two objects are
Bounding Box 663
Bounding Box Chamfer
Bounding box shows the extents of the sofa. NURBS chamfer curves
The bounding box is the smallest box that encloses A dependent NURBS object that is a line segment
the maximum dimensions or extents (page 3–673) connecting two curves. It is controlled by the
of an object. curves it connects, and by two length parameters
that control the distance back from the point of
You can display selected objects in the scene as apparent intersection of the "parent" curves.
bounding boxes to speed up screen redraw. Use
the Object Properties dialog (page 1–107).
The Align command (page 1–389) uses the CIBSE Files
maximum and minimum extents of the object’s The CIBSE file type is the file format for
bounding box to align objects. photometric data adopted by the Chartered
Institution of Building Services Engineers. It is
used primarily in Great Britain.
By Layer
By Layer icon in the Layer Manager dialog
ByLayer is a property setting available to objects

listed in the Layer Manager (page 3–364), as well
as from the Object Properties dialog (page 1–107).
When By Layer is set, the object inherits settings
for the selected property from its associated layer.
664 Glossary
Clipping Planes Composite
The mailbox with its shadow is composited with the wall

Clipping planes let you exclude some of a scene’s and sidewalk to make the finished scene.
geometry to view or render only certain portions
(noun) A still image or a motion picture created
of the scene. Each camera has a near and a far
by overlaying one image or motion picture with
clipping plane. Objects closer than the near
another.
clipping plane or farther than the far clipping
plane are invisible to the camera. (verb) To combine still images or motion pictures
by laying one over the other.
Clipping planes are useful for rendering selected
portions of a scene that have a lot of complex Compositing often makes use of an image’s alpha
geometry. They can also help you create cutaway channel (page 3–654).
views.
Clipping plane settings are part of the camera’s
creation parameters. The location of each clipping
Compound Materials
plane is measured along the camera’s line of sight
(its local Z axis) in the current units for the scene.
Clipping planes are part of a camera’s general
parameters (page 2–1003).
Viewports can also have clipping planes. You
set a viewport’s clipping planes via the viewport
right-click label (page 3–453).
Codec
Short for compressor/decompressor. An algorithm
for compressing and decompressing digital video House on right uses a compound material.
data, and the software that implements that (House on left uses the default standard material).
algorithm.
Constrained Point 665
Compound (or complex) materials let you create a • Modified Object containers holding all of the
material consisting of two or more sub-materials. modifiers applied to an object as well as the
creation parameters.
The real power in using compound materials is
that each sub-material can be as complex as any
standard material.
Content Browser
The Multi/Sub-Object compound material lets you
The Content Browser stores tools and design
assign different materials to different sub-objects,
content; it provides a central location where you
at the sub-object level of your geometry.
can store project-specific tools to share among
You load or create compound materials using the a design team. You can browse tool catalogs in
Material/Map Browser. the browser, and drag and drop tools onto tool
palettes.
For more information about the types of
compound materials you can create, refer to Kinds
of Compound Materials (page 2–1177).
Continuity
A property of curves, including NURBS curves. A
Constrained Point curve is continuous if it is unbroken.
A NURBS Point that is dependent on either
another Point, Curve, or Surface, and whose
position is either on the parent object or relative
Continuity Level
to it. The relative cases are XYZ-relative, along a
normal, or along a tangent (or set of tangents for a
surface-dependent constrained point).
Containers
Levels of curve continuity:
Containers are Track View items with multiple Left: C0, because of the angle at the top
branches that provide a complete definition of Middle: C1, at the top a semicircle joins a semicircle of
something in your scene. smaller radius
Container items that appear in Track View include: Right: C2, the difference is subtle but the right side is not
semicircular and blends with the left
• Materials definitions with all parameters, maps,
and sub-materials. The level of continuity is a way to describe
curvature. A curve with an angular cusp is C0
• Maps containers with all map types and map continuous. The curve is continuous but its
parameters. derivative is not. A curve whose curvature changes
• Single Map containers with a single map type has C1 continuity. The curve and its derivative are
and its associated parameters. both continuous but its second derivative is not. A
• Object containers directly below a named curve with uninterrupted, unchanging curvature
object item defining the creation parameters of has C2 continuity. NURBS curves must have at
an unmodified object. least C0 continuity; a continuity level greater
666 Glossary
than C2 is unnecessary for most 3D computer In NURBS modeling, a vertex that controls a CV
modeling. Curve or CV Surface. The 3D location of each
CV affects the shape of the curve or surface. CVs
aren’t constrained to lie on the curve or surface.
Control Lattice Each CV has a rational weight that can be used to
adjust the influence of the CV on the curve’s or
surface’s shape.
Controller
Software that controls animation. Controllers
handle the following functions:
• Storing animation key values
• Storing procedural animation settings
• Interpolating between animation key values
Control lattice surrounding the NURBS model of the

fountain basin Convex Hull Property
In NURBS modeling, the lattice described by The property of NURBS curves and surfaces
the CVs that specify a CV Curve or CV Surface. whereby the control lattice described by CVs forms
In viewports, this appears as a dotted yellow a convex hull surrounding the curve or surface.
framework when you edit the curve or surface at
the CV sub-object level. You can also choose to
display the control lattice in viewports at all times. Cool
It’s useful to be able to edit a material in the
Control Vertex (CV ) Material Editor and have it immediately updated
in the scene. Sometimes you want to work on a
material without affecting the scene. You want to
adjust a material until you’re sure that it’s what you
want, and then reassign it. In other words, you
want to cool a hot material (page 3–686).
You cool a material by copying it in the Material
Editor sample slots. You can copy a material in
two ways:
• Use the Copy Material button.
• Drag and drop to copy the material.
When you drag to copy a sample, you end up
Control vertices in the lattice surrounding a NURBS surface with two materials with the same name, but one is
cool while the other is hot. In the Material Editor,
Creation Parameters 667
you can have up to 24 materials with the same In NURBS modeling, a vertex that controls a CV
name, but every material in your scene must have Curve or CV Surface. The 3D location of each
a unique name. CV affects the shape of the curve or surface. CVs
aren’t constrained to lie on the curve or surface.
You can now adjust the cool material, and compare
Each CV has a rational weight that can be used to
it with the hot material. If you like the changes
adjust the influence of the CV on the curve’s or
you’ve made, you can update the scene.
surface’s shape.
Creation Parameters CV Curve

An object’s creation parameters are settings,
typically available on its Parameters rollout,
that you make when you first add the object to
the scene. You can later adjust these settings by
accessing the object at the bottom of its modifier
stack. For example, a Box primitive’s creation
parameters are its size and number of segments
in each of the three dimensions. You can usually
adjust an object’s size without scaling it by
changing its creation parameters.
If you collapse (page 2–314) an object, its creation
parameters are lost, and can no longer be adjusted.
NURBS CV curve
A NURBS curve defined by CVs. The CVs don’t

CV necessarily lie on the curve. Instead, they form
a control lattice that affects the curvature of the
curve.
CVs (control vertices) in the lattice surrounding a NURBS

surface
Short for control vertex.

668 Glossary
non-planar via transformation of its vertices. Such

CV Surface transformation and certain other operations can,
incidentally, cause automatic rearrangement of a
polygon’s diagonals.
NURBS CV surface
A NURBS surface defined by CVs. The CVs don’t Diagonals on the default Cylinder primitive
necessarily lie on the surface. Instead, they form
Diagonals are normally invisible, but in
a control lattice that affects the curvature of the
Autodesk VIZ they appear as dashed lines when
surface.
you use the Turn or Edit Triangulation tool. Unlike
edges, diagonals cannot be transformed, or acted
upon with tools like Chamfer. This is different
Degree from the hidden edges in editable mesh/Edit Mesh
The degree of a curve is the highest exponent in objects, which are actual edges and can be made
the equation used to represent it. A linear equation visible, transformed, and manipulated with any
is degree 1, a quadratic equation degree 2. NURBS editing tool.
curves typically are represented by cubic equations
and have a degree of 3.
Diffuse Color
Dependent
Describes a NURBS sub-object whose definition
depends on other NURBS sub-objects. For
example, a Blend Curve depends on the two curves
that you select when you create it.
Diagonal
A diagonal is a line that connects polygon vertices
in editable poly and Edit Poly objects. Its function
is primarily to resolve the polygon into triangles
Vase has a mapped diffuse color.
at render time, especially if the polygon becomes
Dithering 669
The diffuse color is the color that an object reflects turning on dithering. Dithering can help prevent a
when illuminated by "good lighting," that is, by banding effect in color gradients. Dithering does
direct daylight or artificial light that makes the increase the size of 8-bit files and can slow the
object easy to see. playback speed of animations. You might want to
try applying maps to the flat areas in the scene to
When we describe an object’s color in
see if that eliminates banding before you turn on
conversation, we usually mean its diffuse color.
dithering.
The choice of an ambient color depends on the
By default, Autodesk VIZ renders 64-bit color
kind of lighting: for moderate indoor lighting it
output. Consequently, you also have the option
can be a darker shade of the diffuse color, but for
of setting dithering for truecolor (24 or 32-bit
bright indoor lighting and for daylight, it should
color) (page 3–743). The Dither True Color option
be the complement of the primary (key) light
ensures that you get the best quality on truecolor
source. The specular color should be either the
displays.
same color as the key light source, or a high-value
low-saturation version of the diffuse color. You turn dithering on and off in the Rendering
panel (page 3–540) of the Preferences dialog.
Dithering
Dock and Float
These terms describe manipulations to
user-interface elements, such as toolbars.
You dock a toolbar, for example, when you align
it with the edge of another interface element,
typically a window or panel.
You float a toolbar when you detach it from a
stationary position, and reposition it elsewhere on
the desktop.
Square on the right shows dithering. Dummy Object

When converting an image with a palette of a A dummy object is a non-rendering object that
greater number of colors to an image with a palette you use as an animation helper. The primary use
of fewer colors, dithering is a means of simulating of the dummy helper object is to assist you in
colors not in the more limited palette, by mixing creating complex motions and building complex
different-colored pixels together. hierarchies. Because dummies are invisible in
the rendered scene, they are an excellent choice
Dithering is also a method of smoothing the edges
for offset joints, connectors between objects, and
between two color regions by mixing their pixels
handles for manipulating complex hierarchies.
so the edges appear to blend together.
Breaking complex motions into simple
If you are rendering for the limited colors of an
components often makes it easier to go back and
8-bit display (256 colors), you have the option of
edit your animations. For example, consider
670 Glossary
animating a bouncing ball moving around your • After importing a DXF file, you might want
scene. You could animate the ball by properly to divide the resulting Autodesk VIZ file into
positioning it throughout the scene on many smaller objects.
frames. The drawback is that it would be very
Entities that are frozen or turned off are ignored.
difficult for you to go back and adjust the height of
the bounce or the path the ball takes through the The successful unification of face normals depends
scene. You would have to edit the motion of the on the welding of coincident vertices. Sometimes,
ball on many frames to make even a simple change. depending upon the precision of the model as it
was created in AutoCAD, the vertices may not
Using a dummy object easily solves this problem by
be close enough to be considered "coincident."
breaking the motion into two simple components.
They will not be welded, and the faces will not be
One component is the bounce of the ball. The
properly unified. In this case, increase the Weld
other is the path through the scene.
Threshold value in the Import DXF File dialog.
Converting by layer can result in objects consisting
DWG Files of many elements (page 3–671). In certain cases,
some of these elements may have all of their face
The DWG file is the primary, native file format
normals flipped the wrong way. You can detect this
of drawing files created by AutoCAD, Autodesk
in the software by turning off Backface Cull in the
Architectural Desktop, and Autodesk Mechanical
Display panel, or by rendering the objects. Use the
Desktop®. It is a binary format used for importing
Normal modifier (page 2–167) to correct this.
and exporting (page 3–157) AutoCAD drawing
files. If you do not want to flip normals, you can either
use 2-sided materials, or turn on the Force 2-Sided
You can also use the File Link Manager (page
option in the Render Scene dialog.
3–323) to create a live link between a drawing file
that can be open in AutoCAD and Autodesk VIZ. If you are loading a large scene containing
Changes that are made to the drawing can thousands of entities (such as 3D faces) and have
automatically be updated in Autodesk VIZ without chosen to load an object by entity, the conversion
having to reload scenes or re-import drawings. can take a long time. It also produces a huge
number of objects to handle in the software. To
avoid this, organize your DXF file so that these
DXF Files kinds of entities are grouped by layer, then make
the conversion by layer rather than by entity.
DXF files are used to import and export objects
to and from AutoCAD (and other programs that
support this file format).
Ease Curve
Keep the following in mind when you are creating
Ease curves vary the timing of a function curve.
your DXF geometry, and when you are deciding
An unaltered function curve charts the value of
whether to convert by layer, color, or entity:
an animated parameter over time. An ease curve
• With AutoCAD Release 12, if you are using charts changes to the timing of the function curve.
the AutoCAD Advanced Modeling Extension Changing ease curve values shifts the time of the
(AME), use the SOLMESH command on your original track left or right.
AME models prior to saving the .dxf file.
Editable Mesh 671
The horizontal scale of an ease curve represents that is, it uses triangular polygons. Editable meshes
normal time, just as it does for all function curves. are useful for creating simple, low-polygonal
The vertical scale of an ease curve represents the objects or control meshes for MeshSmooth and
time scale of the function curve the ease curve is HSDS modelling. You can convert a NURBS or
applied to. Changing the shape of an ease curve patch surface to an editable mesh. Editable meshes
changes the way time is interpreted by the affected require little memory, and are a natural method of
function curve. modeling with polygonal objects.
The value of the ease curve at a particular frame is An actively linked object cannot be collapsed to an
a frame value from the original track. For example, editable mesh. Using the File Link Manager (page
if the ease curve is 0 at frame 0 and 10 at frame 10, 3–323), you have to Bind the object first.
the original track plays at its original speed. If the
ease curve value at frame 10 increases to 20, the
original track plays to frame 20 by frame 10: it has Editable Poly
been sped up by a factor of two.
An editable poly (page 2–377) is a type of
deformable object. An editable poly is a polygonal
An Ease Curve Example
mesh; that is, unlike an editable mesh, it uses
Imagine you have animated a car moving down more than three-sided polygons. Editable polys
a street. After viewing the animation you decide are useful in that they avoid invisible edges. For
that you want to change the position of the car so it example, if you use a cut-and-slice operation
moves quickly at the beginning of the animation with editable polys, the program doesn’t insert
and then slows to a leisurely pace toward the end. extra vertices along any invisible edge. You can
convert NURBS surfaces, editable meshes, splines,
You could accomplish this change by editing
primitives, and patch surfaces to editable polys.
position keys, ranges, and function curves but
it would require more work than using an Ease
curve. Applying an Ease curve to the Position
track provides a quick and easy solution.
Element
An element is one of two or more individual
Dragging the Ease curve causes time to compress
mesh objects (that is, groups of contiguous faces)
near the beginning of the animation and stretch
grouped together into one larger object. For
out near the end. You can tell that the car’s motion
example, if you attach one box to another, you
starts out fast and then slows down by looking
create one mesh object from the two boxes. Each
at the effect the Ease curve has on the Position
box is now an element of the object. Any function
function curves.
you perform on that object affects all its elements.
However, you can manipulate the elements
See also
independently at the Element sub-object level.
Multiplier Curve (page 3–703)
End Effector
Editable Mesh
In history-dependent inverse kinematics (HD IK)
An editable mesh (page 2–350) is a type of (page 2–786), the end effector is the pivot point of
deformable object. An editable mesh is a trimesh:
672 Glossary
the selected child object at the end of a kinematic

chain. Environment Map
The kinematic chain is a single branch of a
hierarchy used for animation with inverse
kinematics (IK) (page 3–689). The chain starts
with the selected child object and travels up
through ancestors until it reaches the start of the
chain. When you move the end effector, the HD IK
solver then uses IK calculations to move and rotate
all other objects in the kinematic chain to react to
the object you moved.
The end effector has two transforms: one that
connects it to its parent, and another that connects
it to the End Effector Parent. By default, the End
Effector Parent is none (equivalent to World); you
can assign this in the Motion panel.
Note: You can move the end effector away from
the child object, which causes the IK chain to
straighten out. When you move the end effector
back toward the child object, joints in the IK chain
will bend again. Above: Image uses a picture in screen coordinates as a
background.
Below: Image shows spherical mapping coordinates applied
See also using a checker map.
IK Goal (page 3–687)
Texture coordinates lock a map to geometry.
Environment coordinates, on the other hand, lock
a map to the world. If you move the object, the
map remains in place. If you move the view (or
camera), the map changes. This type of mapping
system is used with reflection, refraction, and
environment maps.
There are four types of environment coordinates:
• Spherical
• Cylindrical
• Shrink-Wrap
• Screen
The first three are the same as those used by the
UVW Map modifier (page 2–274). If you imagine
a sphere, infinite in size, surrounding your scene
and mapped with spherical mapping coordinates,
Extents 673
you can visualize the effect you get with spherical turned off (the default) the background receives
environment mapping. Shrink-wrap wraps the an alpha of 0 (completely transparent). If Use
map around a giant sphere, leaving only one Environment Alpha is turned on, the alpha
singularity. Cylindrical is like a giant cylinder. of the resulting image is a combination of the
scene and background image’s alpha. Also,
The Screen system maps the image directly to the
when writing TGA files with Pre-Multiplied
view, with no distortion. It’s similar to planar, in
Alpha set to off, turning on Use Environment
that it’s like a giant backdrop hung in the scene.
Alpha prevents incorrect results. Note that only
Unlike the other environment mapping methods,
background images with alpha channels or black
Screen is locked to the view. When you move the
backgrounds are supported when compositing in
camera, the map moves with it. Therefore, you can
other programs such as Photoshop.
only use it for still renderings, or animations in
which the camera doesn’t move.
To use a bitmap with any environmental Extents
mapping system other than Screen, you need a
high-resolution map because of the size of the
virtual sphere, or cylinder.
An environment map is not assigned in the
Material Editor, because it’s not applied to the
geometry of an object, but rather to the scene itself.
Environment maps appear in the background, as
seen from the camera or perspective view.
When you assign a map to the environment, it’s
the same as if you’d assigned a mapped material
to an object in your scene. To edit or adjust the
assigned map, you need to place it in one of the
White box shows the extents of the sofa.
sample slots in the Material Editor. You can do that
in one of two ways: An object’s extents are its maximum dimensions
in X, Y, and Z. These are the dimensions of the
• Click the Get Material button in the Material
rectangular bounding box (page 3–663) that
Editor, and then get the map from the scene.
surrounds the object.
• Put the map from the Environment dialog to
one of the sample slots in the Material Editor.
You can do this by dragging and dropping from
the Environment dialog map button to the
sample slot.
Note: To control whether or not the renderer
uses the environment map’s alpha channel in
creating the alpha for the rendered image, choose
Customize > Preferences > Rendering, and then
turn on Use Environment Alpha in the Background
Antialiasing group. If Use Environment Alpha is
674 Glossary
Faceted FGM File

An FGM file (.fgm) is a final gather map file. It is
used by the mental ray renderer (page 2–1377)
to save the results of a final gathering pass.
Generating and saving an FGM file can speed up
subsequent renderings.
Field of View
Vase on the right uses a faceted material.
Faceted shading provides a constant shading

across each facet, or co-planar surface of the
object. The result has the appearance of so-called
"flat" shading, except that it provides specular
highlights.
Turn on Faceted to provide a faceted look to your
geometry without having to explicitly change the Above: Narrow field of view
smoothing groups in the object with the Edit Mesh Below: Wide field of view
modifier. Field of View defines the width of your view as an
Both Standard (page 2–1093) and Raytrace (page angle with its apex at your viewpoint and the ends
2–1137) materials provide a Faceted toggle. at the sides of the view. The effect of changing FOV
is similar to changing the lens on a camera. As the
Note: This feature was known as “constant
FOV gets larger you see more of your scene and
shading” in versions of Autodesk VIZ prior to v4.
the perspective becomes distorted, similar to using
a wide-angle lens. As the FOV gets smaller you
see less of your scene and the perspective flattens,
FFD similar to using a telephoto lens.
FFD stands for free-form deformation. It is used
A Perspective view uses an imaginary camera
in computer animation for effects like dancing cars
with only one setting, FOV. The FOV angle
and gas tanks. You can use it as well for modeling
for the active Perspective view is displayed in
rounded shapes such as chairs and sculpture.
the Rendering Methods panel of the Viewport
An FFD modifier (page 2–129) surrounds the Configuration dialog. You can type a value in the
selected geometry with a lattice box or cylinder. FOV field of the dialog to precisely set FOV for the
By adjusting the control points of the lattice, you active Perspective view.
deform the enclosed geometry.
Fields 675
Use Field of View (FOV) to change the amount of group, the Render To Fields check box sets
the scene visible and the amount of perspective whether the renderer renders full frames at the
flare applied to a Perspective or Camera view. specified frame rate, or renders fields at twice that
The Field of View button appears in the viewport rate. When Render To Fields is on, the renderer
navigation control panel when a Perspective or renders an extra sub-frame image between every
Camera view is active. two frames, and composites each frame and the
following sub-frame into a single image with
two fields. The result is a 60 fields-per-second
Fields animation suitable for play on an NTSC (page
3–705) television monitor.
Field Order
When you render to fields, you also specify a
field order to identify which field comes first.
The Field Order configuration setting is found in
Preferences, on the Rendering page. A frame’s
scan lines are numbered and each field contains
either the odd or even scan lines. The video source
(for example, broadcast transmitter, video tape
recorder, or digital video recorder) determines
which group of scan lines is in each field and which
Two fields combine to make a single frame.
group is delivered to the display first. The fields are
Your animations might ultimately be viewed referred to as Field 1 (F1) and Field 2 (F2); either
on television monitors. Standard video signals could contain the odd numbered (1st, 3rd, 5th,
display animation by breaking it down within time and so on) scan lines or the even numbered (2nd,
segments (frames). The image for each frame is 4th, 6th, and so on) scan lines in the frame.
split into horizontal lines (scan lines). A special Using the default setting of Odd as your Field
method for conveying frame information on a Order preference, the software renders the first
video signal has been developed. This method is field image (F1) to the odd scan lines. If the field
called field interlacing. Television monitors display order preference is set to Even, then the first field
a video signal by separately scanning two portions image is rendered to the even scan lines. For an
of each frame called fields. One field contains the image to display properly, the field order and the
odd scan lines of a frame, the other field contains video device field order must match.
the even scan lines. Television monitors scan and
display the fields of each frame separately. The Some video systems require odd lines to be
fields are alternately cycled through every other rendered first, and others require the even lines
horizontal line on the screen so that they "layer" to be recorded first. The Field Order parameter
together to form a single interlaced image. is set to Odd by default. If you observe incorrect
strobing in your video output, change the
Render to Fields parameter to Even.
On the Render Scene dialog, in the Common
Parameters rollout (page 2–1334) > Options
676 Glossary
In life, a transparent material, such as colored

Fillet glass, affects the colors behind it not by the diffuse
or ambient colors (which are reflected colors), but
by the transmission color.
The transmission color is that property of a
substance that filters certain colors, and allows
others to pass. For example, a sheet of red
cellophane is a filter that blocks all light not in the
red wavelength of the spectrum. By using filter
opacity, you can specify a transmission color and
achieve strong, saturated colors, no matter how
transparent the material.
NURBS fillet curves Filtering (Antialiasing)

A dependent NURBS object that is an arc Filtering is a technique of antialiasing the bitmaps
connecting two curves. It is controlled by the in mapped materials by averaging pixels. The
objects it connects, and by a radius parameter. Pyramidal and Summed Area options provide
two methods of pixel averaging. Only one can be
active at a time.
Filter Color / Filter Opacity
Both methods require approximately the same
rendering time. Summed-area filtering generally
yields superior results but requires much more
memory. Pyramidal filtering requires the program
to allocate memory equal to approximately
133% of the size of the bitmap. By comparison,
summed-area filtering requires the program to
allocate approximately 400% of the size of the
bitmap.
Use summed-area filtering only for smaller
bitmaps, and avoid using any more such bitmaps
in a scene than necessary.
Sphere on the right has a light green opacity filter color. Pyramidal filtering is quite adequate for most
Filter opacity tints the colors behind the material purposes. However, because it applies filtering as a
using a specified transmission color. function of distance, irregular antialiasing might
occur on detailed texture maps that are applied
Filter opacity is the default system, because it to a plane receding into the distance. The effect
provides a more realistic transparency effect. of pyramidal filtering on extreme perspectives
When the Filter option is set in the Extended such as this is even more noticeable in animations,
Parameters rollout, the color used by the Filter where portions of the texture map appear to
Color swatch tints the transparency of the material.
Final Gathering (mental ray Renderer) 677
"swim." If this occurs, turn on summed-area

filtering for the material.
Note: To control whether or not a background
image is affected by the renderer’s antialiasing
filter, choose Customize > Preferences > Rendering
(page 3–540) and then turn on Filter Background
in the Background Antialiasing group.
Final Gathering (mental ray

Renderer)
Final gathering is an optional, additional Same scene with final gather used to smooth the global
step to calculating global illumination (page illumination
2–1392). Using a photon map to calculate global
illumination can cause rendering artifacts such
as dark corners and low-frequency variations in
the lighting. You can reduce or eliminate these
artifacts by turning on final gathering, which
increases the number of rays used to calculate
global illumination.
Same scene with final gather but no global illumination, for

comparison
Final gathering can greatly increase rendering

time. It is most useful for scenes with overall
diffuse lighting, less useful for scenes with bright
spots of indirect illumination such as focused
caustics.
Scene rendered with global illumination but no final gather
You turn on final gathering on the Render Scene
dialog > Indirect Illumination panel > Final
Gather rollout (page 2–1409).
678 Glossary
First Vertex Flat Mirror
First vertex of a spline Flat mirror map reflects the ice-cream shop’s interior.
When you create a spline object, the software If you want to create a flat, mirrored surface in a
numbers the vertices from 1 to the total number scene, such as a highly polished floor, you must
of vertices in the spline, according to the order use a flat mirror reflection map.
of creation. When the spline is displayed in
Flat mirror reflection maps must be assigned to
viewports, the first vertex has a box around it.
your geometry in a specific way, and work only
The first vertex is commonly used as an alignment on flat surfaces.
marker when you place two or more shapes on
When you use flat-mirror reflection maps, keep
different path levels when lofting. If you place
the following in mind:
different shapes on different path levels and you
don’t align their first vertices, the resulting mesh The flat-mirror material must be assigned to
object is twisted. connected, coplanar faces on a flat surface of
the object. If your flat-mirror reflection doesn’t
To avoid twisting, you can align the first vertices by
work, it’s probably because non-coplanar faces
rotating the splines as necessary. Alternatively, you
have been assigned the flat-mirror material. This
can change the position of a spline’s first vertex
can happen during the selection process, if one
by using the Make First button in the Edit Spline
or more non-coplanar faces are included in the
modifier (at the Vertex sub-object level).
selection set. It can also happen if you’ve already
assigned the same material elsewhere on the object
(coplanar faces are two or more adjacent faces that
are on the same two-dimensional plane, such as
the surface of a floor).
If you want to reflect in multiple planes of the same
object, detach each plane into a separate object
before you assign the material.
Fluorescence 679
release. As you drag, you can see each item’s name

Fluorescence on the prompt line of the status bar (page 3–427).
Follow Object
You can bind an object in your hierarchy to any
other object (often an object not in the same
hierarchy). This other object is called the follow
object.
The bound object tries to match the position and
orientation of its pivot point to the position and
orientation of the follow object’s pivot point.
For example, you might want to animate a figure
Glass on the right has a light green fluorescence. that always points to another object. Bind the
Fluorescence is light emitted from an object when hand of the figure to the other object. Turn IK on
it absorbs radiation (for example, ultraviolet light) and as you move the object the hand and arm of
from another source. the figure move to point at it.
Raytrace materials have the ability to simulate

fluorescence. Forward Kinematics
The default method of manipulating a hierarchy
Flyout uses a technique called “forward kinematics”. The
basic principles employed by this technique are:
• Hierarchical linking from parent to child
• Placement of pivot points to define the
connecting joint between linked objects
• Inheritance of position, rotation, and scale
transforms from parent to child
In forward kinematics, when a parent object
moves, its children must follow. If the child
wants to go off on its own, the parent remains
behind. For example, in a hierarchical linkage of
an industrial robotic welder, when the base (the
Example: Align flyout (main toolbar) parent) rotates, the arm and welding head rotate
along with it, but you can pivot the welding head
A flyout is an icon-based menu available from
without affecting the base.
any button that has a small black triangle in the
lower-right corner. To access the flyout, click the
button and hold or drag a short distance. Then, to
activate a flyout menu item, drag to the item and
680 Glossary
Frame Rate Freeze/Unfreeze

The frame rate of an animation is generally
expressed in frames per second (fps). This is the
number of frames displayed for every second of
real time.
Different recording devices output different frame
rates, but the standard rates are as follows:
NTSC video—30 frames per second
PAL video—25 frames per second
Film—24 frames per second
You can change the frame rate for your output at

any time, outputting the correct number of frames
to maintain the correct playback speed for your
On the right, the trash can and streetlight are frozen.
animation.
You can freeze any selection of objects in your
For example, if you create a 90-frame animation
scene. By default, frozen objects, whether
for video, using an NTSC frame rate of 30 frames
wireframe or rendered, turn a dark gray. They
per second, the result will be three seconds of
remain on screen, but can’t be selected, and
animation.
therefore can’t be directly transformed or
If you later discover you need to output to modified. Freezing lets you protect objects from
PAL video (at 25 frames per second), you can accidental editing and speeds up redraws.
switch to the PAL frame rate. The 90 frames are
Frozen objects are similar to hidden objects.
automatically converted to 75, producing the same
Linked, instanced, and referenced objects behave
total animation time with a different number of
when frozen just as they would if unfrozen. Frozen
frames. You can later switch back to NTSC frame
lights and cameras and any associated viewports
rate to restore the original 90 frames of animation.
continue to work as they normally do.
You can switch back and forth between frame rates
You can choose to have frozen objects retain their
at any time without losing animation data.
usual color or texture in viewports. Use the Show
Frozen In Gray toggle in the Object Properties
Function Curve
Function curves are editable splines that represent
animation values in a line-graph format. They
provide a valuable way of both visualizing and
editing your animation tracks.
Fusing 681
Function curves appear in the Track View, and

provide the best method of viewing and editing G-Buffer
animation tracks. With the function curve display, G-Buffer (graphics buffer) is a type of rendering
you can actually see the characteristics of the channel. Two file formats output by Autodesk VIZ,
animation as they change over time. The steepness RLA (page 3–273) and RPF (page 3–274), can
of the curve indicates the velocity of an object incorporate masks that are based on graphics
in the scene. If the curve steepens, the object is buffer (G-Buffer) channels instead of the more
accelerating. If the curve flattens out, the object widely used RGB and alpha channels. In addition,
is slowing. some kinds of Filter and Layer events as well
You can display key dots in function curves, as well as certain rendering effects (page 3–2) can
as in the key editing displays. In function curves, post-process objects or materials designated by
the key dots appear as small, black squares. The the G-Buffer.
two ways to turn on their display are to click the
green icon beside the track label, or to click the
function curve itself.
There are two basic ways to edit function curves.
You can either change the position of the key dots,
thereby altering the curve, or you can edit the
tangents and the values of the keys themselves.
Fusing
In NURBS curves and surfaces, fusing connects a
Main image: G-buffer used to apply a glow to lighting in a
point to a point or a CV to a CV. (You can’t fuse a scene
CV to a point, or vice versa.) This is one way to
Upper left: The same scene with no glow applied
connect two curves or surfaces. It is also a way to
Middle left: Objects selected using the G-buffer
change the shape of curves and surfaces.
Lower left: Glow applied to the G-buffer objects
Fused points behave as a single point or CV until
You can set two kinds of these channels in the
you unfuse them. Fusing points does not combine
scene to identify and group objects or materials for
the two point objects or CV sub-objects. They are
a particular post-processing effect.
connected but remain distinct sub-objects that
you can unfuse later. • You set an object’s G-Buffer Object Channel
value (see Object Properties Dialog (page
Fused CVs behave much like a single point, but the 1–107)) to identify that object to receive a
property of multiplicity for coincident CVs also particular post-processing effect.
applies. The fused CVs have proportionally more
influence on the curve, which can become more • You set a material’s Material Effects Channel
sharply curved in the fused CVs’ vicinity, or even (page 2–1073) value to identify that material to
angular if more than two CVs are fused together. receive a particular post-processing effect.
682 Glossary
Warning: The mental ray renderer (page 2–1377) does Two basic procedures are required to compensate
not recognize Z-depth with G-buffers. G-buffer data is for changes in gamma:
saved on a single layer. Also, the mental ray renderer
• Calibrate your output display devices so that
does not support the following effects:
the mid-tones generated by the software are
• Glow lens effect (page 3–7) (rendering effect) accurately duplicated on your display device.
• Ring lens effect (page 3–11) (rendering effect) You do this in the Gamma panel (page 3–550)
of the Preferences dialog (Display Gamma).
• Determine the gamma value to be applied to
Gamma Correction files output by the renderer and files input into
the software, such as texture maps. This control
is also in the Gamma panel of the Preferences
dialog (Files Gamma).
The most important rule about gamma correction
is to do it only once. If you do it twice, the image
quality is overly bright and loses color resolution.
With regard to output file gamma, video devices
Changing gamma value to match a monitor’s middle gray such as video tape recorders have their own
hardware gamma-correction circuitry. Therefore,
Gamma correction compensates for the differences you need to decide whether to let the software do
in color display on different output devices so that the output gamma correction or to let the output
images look the same when viewed on different device handle it.
monitors.
Gamma correction is not required for hardcopy
A gamma value of 1 corresponds to an "ideal" print media.
monitor; that is, one that has a perfectly linear
progression from white through gray to black. Files coming into the software from programs
However, the ideal display device doesn’t exist. such as Adobe Photoshop will have been
Computer monitors are "nonlinear" devices. The gamma-corrected already. If you’ve been viewing
higher the gamma value is set, the greater the the files on the same monitor and they look good,
degree of nonlinearity. The standard gamma value you won’t need to set input file gamma.
for NTSC video is 2.2. For computer monitors,
gamma values in the range of 1.5 to 2.0 are
common. Geometric Primitives
When you create an image on your computer, you Simple primitive objects such as, spheres, boxes,
base your color values and intensities on what cylinders, and so on.
you see on your monitor. Thus, when you save an
image that looks perfect on your own monitor,
you’re compensating for the variance caused by
the monitor gamma. The same image displayed on
another monitor (or recorded to another media
affected by gamma) will look different, depending
on that media’s gamma values.
Gizmo/Center 683
Gizmo/Center Glossiness and Specular Level

Settings
Extremes of the Glossiness and Specular Level settings

Examples of gizmos: (Phong shader):
Left: Gizmo for a Bend modifier Top sphere: Glossiness=100; Specular Level=100
Right: Gizmo for UVW mapping Left sphere: Glossiness=50; Specular Level=50
Right sphere: Glossiness=0; Specular Level=0
A gizmo is geometry that appears in viewports,
but not in the scene. You manipulate a gizmo to A material’s glossiness (or dullness) depends on
modify the scene geometry or other effects. There the size and intensity of its specular highlight. In
are gizmos for transforms, modifiers, atmospheric the Material Editor, the Glossiness spinner affects
apparatus, and some directly modifiable geometry the size of the specular area, and the Specular Level
such as spotlight cones. spinner affects the intensity of the glossiness.
For modifiers, a gizmo acts like a kind of container When the Specular Level is too high, and
that transfers the modification to the object to Glossiness is too low, you can get harsh backlights
which it’s attached. You can move, scale, and on your surfaces. The Soften option mitigates this.
rotate the gizmo as you would any object, altering
the effect of the modifier on the object.
Grid Object
Some modifiers with gizmos also have a
Center sub-object, which can be manipulated
independently of the gizmo to specify the point
about which the deformation, etc., takes place. For
example, moving the Bend modifier center parallel
to the plane of the bend effect changes the size of
the bend circle and the location of the modified
object within the bend circle.
Grids used in a scene to align objects

684 Glossary
A grid object is a type of helper object you can or you have many objects in a very tight area,
create whenever you need a local reference grid hiding some of them gives you more access to the
or construction plane somewhere other than the unhidden objects and speeds up redraws.
home grid.
You can hide an object that includes a target
You can have any number of grid objects in your (such as target cameras, tape helpers, or suns) by
scene, but only one can be active at a time. When choosing either the head (page 3–684) or the target
active, a grid object replaces the home grid in all object and then selecting hide.
viewports.
Hide and Unhide are accessible from the Display
You can freely move and rotate grid objects, panel or from the Display quadrant of the Quad
placing them at any angle in space, or attach them Menus.
to objects and surfaces. You can also change
viewports to display a plan or top view of any
active grid object. Hierarchical Linkage
Grid objects can be named and saved like other Autodesk VIZ uses a family-tree analogy to
objects, or used once and deleted. describe the relationship between objects linked
together in a hierarchy.
Parent—An object that controls one or more
Head Object children. A parent object is often controlled by
A head object is a component of a Target Camera, another superior parent object.
Sunlight or Daylight system, or a Tape helper.
Child—An object controlled by its parent. A child
These objects comprise two components: the
object can also be a parent to other children. An
target that the camera, sun, or tape points at, and
object that doesn’t have any parent is by default a
the head that represents the camera, sun, or tape.
child of the world. (The "world" is an imaginary
The head object always points at the center of the
object that acts as the root of all other objects in
target.
the scene.)
Ancestors—The parent and all of the parent’s
Helper Object parents of a child object.
Autodesk VIZ helper objects are used to help you Descendents—The children and all of the children’s
set up an animation, but do not render. children of a parent object.
Hierarchy—The collection of all parents and
children linked together in a single structure.
Hide/Unhide
Root—The single parent object that is superior to
You can hide any objects in your scene and you
all other objects in the hierarchy. All other objects
have the option to hide any selection of objects or
are descendents of the root object.
to hide anything except your current selection of
objects. Hidden objects differ from frozen (page Subtree—All of the descendents of a selected
3–680) objects in that they disappear from the parent.
viewport instead of turning dark gray. If you are
Branch—A path through the hierarchy from a
working on a scene that includes many objects
parent to a single descendent.
Home Grid 685
Leaf—A child object that has no children of its default when you start the software, but can
own. The lowest object in a branch. be turned off with an option in the right-click
viewport menu. You can use any view of the
Link—The invisible connection between a parent
home grid as a construction plane or you can
and its child. The link is a conduit for transmitting
create a grid object (page 3–683) and use that as a
position, rotation, and scale information from
construction plane instead.
parent to child.
Pivot—Defines the local center and coordinate
system for each object. You can think of links as Horizon
connecting the pivot of a child object to the pivot
of its parent.
Home Grid
Horizon in the distance of a scene
The horizon of a scene is the edge of vision at

the height of the camera, parallel with the world
coordinate plane. You can view the horizon in
camera viewports.
Using the home grid to position houses
A camera is level when it and its target are the
Grids are two-dimensional arrays of lines similar
same height from the world coordinate plane. In
to graph paper, except that you can adjust the
other words, the camera’s local Z axis is parallel
spacing and other features of the grid to the needs
to the world plane. When the camera is level, the
of your work.
horizon line is centered in the viewport. As the
Grids have these primary uses: camera tilts up, the horizon line lowers; as it tilts
• As an aid in visualizing space, scale, and down, the horizon line raises.
distance The horizon line can help you match the
• As a construction plane where you create and perspective of your scene to the perspective of
align objects in your scene a still image. In general, matching perspective
involves the following steps:
• As a reference system for using snap
• Display the horizon line. Use it to help you
The home grid is the basic reference system,
adjust the camera and target so they are level.
defined by three fixed planes on the world
coordinate axes. The home grid is visible by
686 Glossary
• Display the image in the camera viewport. Use

Views menu > Viewport Background. Hotspot/Falloff
• Orbit the camera until the perspective of the
scene roughly matches that of the still image.
• Adjust the camera’s perspective to fine-tune the
perspective match.
• Move the camera or target to position the scene
against the background.
If you raise or lower the camera, raise or lower the
target by an equal amount, in order to keep them
level and maintain the horizon.
Hot Hotspot and falloff cones, highlighted in red.
You’ve seen how a flashlight or a theater follow spot

casts a circle of light. Depending on the quality of
the flashlight, or the adjustment of the follow spot,
the edge of the cast pool of light is either blurred
or sharp.
In the case of a blurred pool of light, the bright
circle in the center is the hotspot, which has an
even intensity. The outer extremity of the light,
A hot material is one that is instanced in both the where it meets the darkness, is the falloff. The
scene and the Material Editor. When you get a difference in circumference between the hotspot
material from an object, that material is hot. Any and the falloff determines the relative sharpness of
changes you make to the hot material are reflected the pool of light. For example, if the hotspot and
in the scene wherever that material is applied. falloff are nearly the same size, the pool of light has
a sharp edge.
To edit a material without changing the scene, you
can get the hot material from an object, then make The hotspot angle of a spotlight must always be
a copy of it. The term for the copied material is smaller than the falloff angle. Put another way, the
cool (page 3–666). hotspot must always be inside the falloff.
White triangular tabs in each corner of the You can hold down the SHIFT key to have the
Material Editor sample slots (page 2–1050) show hotspot and falloff values affect each other. If you
that the materials in those slots are hot. increase the hotspot to be larger than the falloff,
the falloff is increased as well. Likewise, if you
In the Material Editor, the only time you need to reduce the falloff to be smaller than the hotspot,
select an object is when you’re assigning a material the hotspot is also reduced.
to an object. When you’re adjusting a material,
object selection doesn’t matter.
IGES (Initial Graphics Exchange Specification) 687
IGES (Initial Graphics Exchange IK Solution

Specification) Inverse kinematics (IK) uses a goal-directed
The Initial Graphics Exchange Specification method where the animator positions a child
(IGES) is an ANSI standard that defines a object and the program calculates the position
neutral form for the exchange of information and orientation of the parent objects. The final
among dissimilar computer-aided design (CAD), position of the hierarchy after all of the calculations
computer-aided manufacturing (CAM) systems, have been solved is referred to as the IK solution.
and computer visualization systems. Applied IK requires that one or more parts of
Autodesk VIZ implements the IGES standard for your IK structure be pinned to animated follow
translating files to the software from IGES file objects. Once pinned, you select any object in your
formats used by the mechanical engineering and kinematic chain and click the Apply IK button.
entertainment industries. Using the IGES import The software then calculates the IK solution for
feature, you can read in native NURBS (page each frame of the animation and places transform
3–705) data between Autodesk VIZ and other keys for every object in the IK chain.
programs such as Autodesk Mechanical Desktop®
(release 3.0 or later), Maya®, Pro/ENGINEER®,
SOFTIMAGE®, CATIA®, and others. For complete Illuminance
details on the IGES standard, see The Initial Illuminance is the luminous flux (page 3–694)
Graphics Exchange Specification (IGES) Version incident on a surface of unit area. It measures how
5.3. much energy has fallen on a surface.
This quantity is useful for describing the level of
IK Goal illumination incident on a surface without making
the measurement dependent on the size of the
The kinematic chain is a single branch of a surface itself. The lux (lx) is the International
hierarchy used for animation with inverse System (SI) unit of illuminance. The American
kinematics (IK) (page 3–689). The chain starts System (AS) unit for illuminance is the footcandle
with the end joint and travels up through ancestors (fc), equivalent to 1 lumen per square foot.
until it reaches the start joint. When you move the Illuminance is a function of the distance from the
IK goal, the IK solver then uses IK calculations to light source. To specify the illuminance of a light,
move and rotate all other objects in the kinematic you must enter a value in lx, and the distance at
chain to react to the object you moved. which that illuminance is measured.
Note: You can move the IK goal away from the end
joint, which causes the IK chain to straighten out.
When you move the goal back toward the end
joint, joints in the IK chain will bend again.
See also
End Effector (page 3–671)
688 Glossary
Tips and Limitations

Image Motion Blur
Image motion blur smudges the object by creating
a smearing effect, instead of superimposing
multiple images the way object motion blur does.
It considers camera movement. Image motion blur
is applied after scanline rendering is complete.
• Because image motion blur is applied after
rendering, it can’t account for object overlap.
When blurred objects overlap, blurring doesn’t
work correctly and there are gaps in the
rendering. To fix this problem, render each
blurred object separately, to a different layer,
and then composite the two layers using a
compositing tool).
Image motion blur has been applied to the falling coin on
the right. The overlap problem also applies to objects
behind an object rendered with raytrace
Motion blur can enhance the realism of a rendered refraction.
animation by simulating the way a real-world
camera works. A camera has a shutter speed, and • Image motion blur doesn’t work with objects
if significant movement occurs during the time the that change topology. This includes NURBS
shutter is open, the image on film is blurred. objects that are animated so their tessellation
(surface approximation (page 2–601)) changes.
You can also apply image motion blur as a render Regular tessellation doesn’t change in this way.
effect (page 3–50). This also includes Displacement mapping and
(Another option, object motion blur (page 3–706), Optimization.
is not meant to simulate a camera, but to improve • Image motion blur can yield strange results
the rendered appearance of fast-moving objects.) with objects that have a MeshSmooth modifier
Applying image motion blur is a two-step process:
(page 2–153) applied to them. If you see this
happening, turn of the MeshSmooth modifier’s
1. Turn on image motion blur for the object you Keep Faces Convex toggle (in the Settings
want to blur, using the Object Properties dialog rollout). This will fix the problem.
(page 1–107).
• Image motion blur is not applied to reflections
You cannot apply both image motion blur and of objects. It is applied only to actual geometry.
object motion blur to the same object in the
same rendering.
2. Before you render, turn on image motion blur Independent
in the Default Scanline Renderer rollout (page
Describes a NURBS object or sub-object that is
2–1343) of the Render Scene dialog.
not dependent on any other object in a NURBS
model. For example, a NURBS curve created using
the Create command panel does not depend on
other objects.
Instance 689
concepts of hierarchical linking. To understand

Instance how IK works you must first understand the
An instance is an interchangeable clone of the principles of hierarchical linking and forward
original. Modifying an instanced object is the kinematics.
same as modifying the original. Inverse kinematics starts with linking and pivot
Instances are not only alike in geometry, but placement as its foundation and then adds the
also share modifiers, materials and maps, and following principles:
animation controllers. When you change one • Joints are constrained with specific positional
instance by applying a modifier, for example, all and rotational properties.
the other instances change with it. • Position and orientation of parent objects is
Each instance has its own set of transforms and determined by the position and orientation of
object properties; these are not shared among child objects.
instances. Because of these added constraints, IK requires
Within the program, instances derive from the greater thought about how you link your objects
same master object. What you’re doing is applying and place pivots. Where many different solutions
a single modifier to a single master object. In the for linking objects might be suitable for forward
viewport, what you see as multiple objects are kinematics, there are usually just a few good
multiple instances of the same definition. solutions for any given IK approach. The best
solution depends on consideration of both the
If you wanted to create a room full of desks, you nature of the hierarchy, and how that hierarchy
might begin by making many instanced copies of a will be animated.
desk.
Inverse kinematics is often easier to use than
forward kinematics and you can quickly create
Interactive Renderer complex motions. However, you sacrifice some of
your control to the automation of the IK functions.
Another term for the Viewport Interactive
Renderer (page 3–745).
Interpolation
Interpolation is the calculation of intermediate
values. For example, when you set two keyframes
for a moving object, the object’s position
on intermediate frames is determined by
interpolation.
Inverse Kinematics
Inverse kinematics (IK) is a positioning and
animation method that is built on top of the
690 Glossary
the edges. You can create an isometric view by

Iso Line rotating a User view.
Keyframe Mode
Keyframe mode is active while the Auto Key
button (page 3–441) is turned on. While you are
in Keyframe mode, transforming an object or
sub-object, or changing the value of an animatable
parameter, creates an animation key.
See also
Layout Mode (page 3–691)
Iso lines on a NURBS surface Keyframes/Keys (page 3–690)
Iso is short for isoparametric.
In NURBS modeling, a line of constant parameter Keyframes/Keys
value, similar to a contour line. You can use iso
lines to display a NURBS surface. You can also Keyframes record the beginning and end of each
create dependent NURBS curves based on a transformation of an object or element in the
surface’s U-dimension or V-dimension iso lines. scene. The values at these keyframes are called
keys.
For example, if you have an object representing an
Isometric View elevator that has not been animated, no keyframes
(or keys) exist for it. If you turn on the Animate
button, move to frame 20, and move the elevator
along the Z axis to the second floor, Position keys
are created at frames 0 and 20. The key at frame
0 represents the position of the elevator before it
was moved, while the key at frame 20 represents
the position of the elevator after it was moved
along the Z axis. When you play the animation,
the elevator moves from the ground floor to the
second floor over 20 frames.
Isometric view of a scene Kinematic Chain

A special type of axonometric view (page 3–659), Inverse kinematics calculates the position and
where the sides of the object are equally inclined to orientation of objects in a kinematic chain.
the screen, producing equal foreshortening along The kinematic chain is defined as a single branch
of the hierarchy that starts with a selected child
Knot 691
object and continues up through its ancestors until Layer Manager (page 3–364)
it reaches the base of the chain. The base of the
Layer Properties Dialog (page 3–369)
chain is either the root of the entire hierarchy or
an object that you specify as a terminator for the
chain.
Layout Mode
Autodesk VIZ automatically determines the
Layout mode is active while the Auto Key button
kinematic chain when you select and transform an
(page 3–441) and Set Key button (page 3–442)
object with the IK button turned on.
are both turned off. While you are in Layout
mode, you can transform objects and sub-objects,
and change the values of animatable parameters,
Knot without generating animation keys.
A value in an array or "knot vector" associated
with a NURBS curve. The knots specify the region See also
of influence of the CVs on the curve. You can’t see
Keyframe Mode (page 3–690)
or directly alter knots.
Keyframes/Keys (page 3–690)
Launch Script
Light Map
A launch script is a MAXScript script that you
run from the command line with the -U switch, A light map or lighting map is a bitmap (page
instead of from the Utilities command panel. 3–660) that stores the lighting levels (intensity and
color) falling on an object in the scene. Typically,
You use a launch script to run batch operations in
you create a light map by rendering to a texture
the software. For example, you might have a batch
(texture baking) (page 2–1437). Light maps are
rendering in which the script opens a sequence of
primarily for use in game engines, but you can also
files, sets up shots in each, and renders them, all
use them to speed up renderings.
without using the user interface.
Layers
Layers are like transparent overlays, and allow you
to organize and group different types of scene
information. The objects you create have common
properties including color, visibility, renderability,
and display. An object can assume these properties
from the layer on which you create it.
You can adjust layer properties from the Layers
toolbar (page 3–397) and the Layer Manager.
Banana object in a lighted room
See also
Using Layers to Organize a Scene (page 3–362)
692 Glossary
other words, you run the script as you go along,

rather than running a pre-saved text file.
You open the listener window using the MAXScript
Listener command on the MAXScript menu or
from the Utilities > MAXScript > MAXScript
rollout > Open Listener command.
Local Coordinate System
Light map of the banana
Linked Geometry
Linked geometry is a by-product of importing
or linking a drawing file to Autodesk VIZ. It is a
A book in object space rests on a table in world space. The
child object, or subcomponent, associated with book has its own local coordinate system.
VIZBlocks or Block/Style Parents.
The local coordinate system is the coordinate
When you select a linked geometry object, it offers system that relates specifically to the selected
no parameters on the Modify panel. You must object.
first add an Edit Mesh modifier to the object or
collapse the linked geometry object to an editable Each object has its own local center and coordinate
mesh in order to access sub-object levels. If you system as defined by the location and orientation
add a modifier to linked geometry, the modifier is of the object’s pivot point. The local center and
applied to all instances of that object. coordinate system of an object combine to define
its object space.
The only direct control you have over linked
geometry objects is the Reset Position option that The direction of the object’s X, Y, and Z axes
is used to negate and basic move, rotate or scale depend on the current transforms of the object.
transforms. Contrast with the world coordinate system.
You can see the difference between the two
coordinate systems when you unintentionally
Listener Window rotate an object, such as a book on a table, around
In MAXScript, the Listener Window is a the world axis instead of the object’s local axis. The
command-line window that lets you type in and book immediately flies off in a large arc because
execute MAXScript commands interactively. In
Lofting 693
the center of the rotation is at the origin of the The term lofting comes from early shipbuilding. A
world coordinates. large framework called a loft was built to hold the
hull of a ship while it was assembled. The process
To rotate the book correctly, first change the
of hoisting the ribs (cross-sections) of the hull into
coordinate system to Local, using the pop-up list
the loft became known as lofting.
on the toolbar. The book then rotates around
its own center, which is the origin of its local A traditional method for building
coordinates. three-dimensional models of a modern
vehicle design is to draw cross-sections at a
number of key points. These cross-sections are
Lofting cut out to form two-dimensional templates that
are then placed on a rail. The model builders fill
in the space between the templates to generate the
surface of the model.
You create loft objects using a similar process. You
first create two or more spline objects. One of these
splines will be the rail, which is referred to as the
path. The rest of the splines are the cross-sections
of your object, which are called shapes. As you
arrange your shapes along the path, the software
generates a surface between the shapes.
A circle is lofted along a path to construct a tubular shape. Log File (mental ray Renderer)
Lofting is an important method for 3D object The log file (.log) is an ASCII text file that contains
creation. You create shape objects to serve as a messages generated by the mental ray renderer.
path and any number of cross-sectional shapes. You specify a name and location for the log file, and
The path becomes the framework that holds the the "verbosity" level of the messages it contains, in
cross-sections forming your loft object. the mental ray preferences (page 3–545).
Once you create a loft object you can change its
parameters and sub-objects:
LTLI Files
• Add and replace cross-section shapes or replace
the path. The LTLI file type is the file format for photometric
data created by the Danish Illuminating
• Change the parameters of the path and shapes. Laboratory. It is used primarily in Scandinavian
• Change the surface parameters of the loft countries.
object.
The lofting process first requires that you
create shape objects to serve as the path and
cross-sections of your loft object.
694 Glossary
Luminance LZG Files

Luminance is the value of light reflected off a LZG (Lens Effects Glow) files allow you to store
surface. It is a measure of how bright or dark we all of the settings for a Glow effect in one file. The
perceive the surface. settings are also saved with the MAX file; however,
saving them to a separate file allows you to use
the same Lens Effects settings in different scenes,
Luminous Flux and also allows you to share settings with other
Autodesk VIZ users.
Luminous flux is the quantity of light energy per
unit time arriving, leaving, or going through a
surface. The lumen (lm) is the unit of luminous
flux in both the International System (SI) of units
LZH Files
and in the American System (AS) of units. If LZH (Lens Effects Highlight) files allow you to
you think of light as particles (photons) moving store all of the settings for a Highlight effect in one
through space, then the luminous flux of a light file. The settings are also saved with the MAX file;
beam arriving at a surface is proportional to the however, saving them to a separate file allows you
number of particles hitting the surface during a to use the same Lens Effects settings in different
time interval of 1 second. scenes, and also allows you to share settings with
other Autodesk VIZ users.
Luminous Intensity
Luminous intensity is the light energy per unit
LZO Files
time emitted by a point source in a particular LZO (Lens Effects Focus) files allow you to store
direction. Luminous intensity is used to describe all of the settings for a Focus effect in one file. The
the directional distribution of a light source, that settings are also saved with the MAX file; however,
is, to specify how the luminous intensity of a saving them to a separate file allows you to use
light source varies as a function of the outgoing the same Lens Effects settings in different scenes,
direction. The Candela (cd) is the unit of luminous and also allows you to share settings with other
intensity. Autodesk VIZ users.
LZF Files LZV Files

LZF (Lens Effects Flare) files allow you to store all LZV files allow you to store the settings for several
of the settings for a Flare effect in one file. The Lens Effects in one file. You can save all of your
settings are also saved with the MAX file; however, settings for Glow, Ring, Ray, Auto-Secondary,
saving them to a separate file allows you to use Manual Secondary, Star, and Streak effects in one
the same Lens Effects settings in different scenes, file. The settings are also saved with the MAX file;
and also allows you to share settings with other however, saving them to a separate file allows you
Autodesk VIZ users. to use the same Lens Effects settings in different
scenes, and also allows you to share settings with
other Autodesk VIZ users.
Map Bias 695
Map Bias Map Channel
On the right, increased map bias makes the dog appear to Left: Scene uses different map channels to place different
float. copies of the same maps in different locations.
Map bias moves the shadow toward or away from Right: The three maps used to create the streets and the
traffic markers painted on them
the shadow-casting object (or objects).
When you turn on Generate Mapping Coordinates
By default, this value is 1.0 world coordinate unit.
for an object, the coordinates use map channel
Increasing the bias moves the shadow away from
1. You can assign new map channels with new
the object, and decreasing the bias moves the
mapping coordinates by applying a UVW Map
shadow closer to the object. The Map Bias value
modifier (page 2–274) to the object. Map channel
can be any positive floating-point number.
values can range from 1 to 99.
For example, if a shadow-casting object intersects
A map channel associates a map with an object’s
another object but its shadow doesn’t meet
mapping coordinates. Texture-baked maps (page
properly at the intersection, the bias is too high.
2–1437) also use map channels.
This effect varies with the angle of the spotlight
to the object. Extremely shallow spotlight angles For NURBS (page 2–443) surface sub-objects, you
usually require higher bias values. can assign a map channel without applying UVW
Map. The surface sub-object has a different set of
Another purpose of bias is to avoid problems
mapping coordinates for each map channel you
with objects that cast shadows onto themselves. If
use.
you see streaks or moiré patterns on the surface
of the object, the bias value is too low. If you A map’s map channel value identifies which of an
increase the bias so much that the shadow becomes object’s mapping coordinates to use. Different
disconnected from the object, reduce the bias and map channels allow maps for the same object
increase the shadow map Size value instead. to use different coordinates. For example, you
might use one channel for diffuse mapping (page
2–1123) and a different one for bump mapping
(page 2–1131). Map channels also let different
maps use different coordinates within a compound
material (page 2–1177), a compositor map (page
2–1259), or a multi/sub-object (page 2–1182)
material.
Different map channels can have different U and
V tiling values, different U and V offsets, and so
on. In the UVW Map modifier, you can also set
696 Glossary
different map channels to have different mapping

types (planar, cylindrical, spherical, and so on). Mapping Coordinates
If you apply a map that uses a certain map channel
to an object that has no mapping coordinates for
that channel, the map doesn’t appear on the object.
When you render, a Missing Map Coordinates
(page 2–1198) dialog appears to warn you of the
problem. The dialog lists the map channel and the
object name.
See also
Coordinates Rollout (2D) (page 2–1199)
Coordinates Rollout (3D) (page 2–1237)
Mapped Material
A mapped material is a material (page 3–699)
that contains one or more maps (page 2–1193).
Typically, it contains a bitmap (page 3–660) as a
Diffuse map, but having any map or maps applied
qualifies a material as mapped.
In order for a mapped material containing a
2D map (page 3–649) to appear properly in Decoration on the vase is a map positioned by rotating the
the viewports and in the rendered image, any UVW Map Modifier gizmo.
object to which it’s applied generally needs
Mapping coordinates specify the placement,
mapping coordinates. By default, most parametric
orientation, and scale of a map on the geometry.
objects in Autodesk VIZ already have mapping
Coordinates are often specified in terms of U, V,
coordinates applied; you can also use the UVW
and W, where U is the horizontal dimension, V is
Map modifier (page 2–274) (link) or Unwrap
the vertical dimension, and W is the optional third
UVW modifier (page 2–247) (link) to provide
dimension, representing depth.
mapping coordinates.
Note: Objects with materials that contain only If you apply a mapped material to an object
3D maps (page 3–650) do not need mapping that has no mapping coordinates, the Renderer
coordinates. assigns default mapping coordinates. The built-in
mapping coordinates are designed for each object
type. The box mapping coordinates place a
duplicate map on each of its six sides. For the
cylinder, the image is wrapped once around its
sides, and duplicates of the image are distorted at
the end caps. A sphere has the image wrapped
Maps 697
once around the sphere, and then gathered at the on the rendered view, and fixed to the world
top and bottom. Shrink-wrap mapping is also coordinates in the scene.
spherical, but truncates the corners of the map • 3D procedural maps (such as Noise or Marble)
and joins them all at a single pole, creating only
one singularity. These are procedurally generated, based on the
local axis of the object.
Autodesk VIZ provides a number of ways to apply
• Face-mapped materials
mapping coordinates:
The maps are placed based on the facets in the
• Use the Generate Mapping Coords option in
geometry.
the creation parameters rollout of any standard
primitive. This option, which is on by default
for most objects, provides mapping coordinates
Maps
specifically designed for each primitive. They
require additional memory, so turn the option
off if you don’t need them.
• Apply a UVW Map modifier (page 2–274).
You choose from several types of mapping
coordinate systems and customize the
placement of the mapping coordinates on
the object by positioning a mapping icon. In
addition, you can animate the transformations
of the mapping coordinates.
• Use special mapping coordinate controls for
special objects. For example, Loft objects
provide built-in mapping options that let you
Front left sphere: Marble bitmap
apply mapping coordinates along their length
Front right sphere: Clouds bitmap
and around their perimeter.
Back left sphere: Noise procedural map
• Apply a Surface Mapper modifier. This Back right sphere: Marble procedural map
world-space modifier takes a map assigned to
a NURBS (page 2–443) surface and projects it The images you assign to materials are called
onto the modified object or objects. Surface maps. The software provides several different map
Mapper is especially useful for seamlessly types. They include standard bitmaps (such as
applying a single map to a group of surface .bmp, .jpg, or .tga files), procedural maps, such as
sub-objects within the same NURBS model. Checker or Marble, and image-processing systems
You can also use it for other kinds of geometry. such as compositors and masking systems.
There are three cases where you don’t need You can assign maps to most of the components
mapping coordinates: that make up a material. Materials that contain
one or more images are called mapped materials.
• Reflection/refraction maps and environment By assigning maps to different attributes of the
maps materials, you can affect the color, the opacity, the
These use an environmental mapping system, smoothness of the surface, and much more.
in which the placement of the map is based
698 Glossary
Maps offer the level of realism you look for in

materials. The different types of maps you can use Material ID
range from the common bitmap, to the flexible
procedural map.
For many map types, the renderer needs
instructions telling it where the map should appear
on the geometry. These instructions are called
mapping coordinates (page 3–696).
Match Frame
For the purposes of combining inverse kinematic
(IK) (page 3–689) and forward kinematic (FK)
(page 3–679) animation, this is a collection of Figure mapped using a multi/sub-object material: material
keyframes that allow a seamless blend between IK IDs identify the component sub-materials.
and FK control, or vice versa. On the IK goal (page
A surface’s material ID is the value that determines
3–687), this includes IK keys for:
which sub-material the surface will use when you
• Position apply a Multi/Sub-Object material (page 2–1182)
• Enabled state to the object to which the surface belongs.
• Swivel angle Geometric primitives have default material
identification number assignments, just as they
On the IK bones, a match frame includes FK keys
have default smoothing groups. The default
for:
material ID assignment depends on the type of
• Rotation geometry. Most curved objects such as spheres
• Preferred angles have a single material ID. Boxes have six IDs, one
for each side. Cylinders have three: ID number 1
• Scale (less frequently)
and 2 for the two caps, and ID number 3 for the
sides. Hedra have three: one for each of their P,
Q, and R axes.
When you apply a Multi/Sub-Object material,
the materials will match the Multi/Sub-Object
material ID numbers to the material ID numbers
on the faces of the object. Faces keep a record of
the ID number, and not of the material name. If
the material is anything but Multi/Sub-Object, the
material is assigned to the object’s entire surface.
Assigning some defining material ID number to
each object before they become compound object
operands can be a useful technique for being able
to select the separate pieces after they’re combined.
Material/Map Hierarchy 699
You can use material IDs for continuous surfaces called compound materials (page 3–664). Maps
that require separate paints or finishes. For consisting of maps are compound maps.
example, a car constructed from different types of
materials, such as a colored metal body, chrome
parts, glass windows, and so on. Materials
You can use the Material modifier (page 2–148) to
assign material ID numbers. Also you can reassign
material IDs using the Editable Mesh > Surface
Properties rollout, or Edit Mesh modifier > Edit
Surface rollout.
Material/Map Hierarchy
Spheres with variations of the standard material type (no

maps used):
Green sphere: High Glossiness
Red sphere: Constant shading
Blue sphere: 60% opacity
Yellow sphere: Wireframe mode, slight self-illumination
A material is data that you assign to the surface

or faces of an object so that it appears a certain
way when rendered. Materials affect the color of
objects, their glossiness, their opacity, and so on.
An architectural material consists of diffuse
color and diffuse map components.A standard
Material/map hierarchy shown in the Material/Map
material consists of ambient, diffuse, and specular
Navigator
components. You can assign maps to the various
The Material Editor could be called the Material components of an architecturalny type of material.
and Map Editor, because you can use it to design
The architectural material is the default material
both materials and maps, and any combination of
in the six sample slots of the Material Editor.
the two. In addition, you can create material or
However, you can change the type of material
map hierarchies.
you’re working on by clicking the button labeled
A material hierarchy is a material that consists Type below the sample slots. This displays the
of other materials (or maps). Similarly, a map Material/Map Browser, and lets you select from a
hierarchy is a map consisting of other maps. list of alternative material types.
Materials that consist of other materials are
You can also change the type of material you’re
working on by clicking the Get Material button
700 Glossary
below the sample slots. This displays the properly generate shadows on a matte object, turn
Material/Map Browser, and lets you select from a off the Opaque Alpha check box and then set the
list of alternative material types. Affect Alpha check box.
Matte Object MAXScript

MAXScript is the general-purpose scripting
language for Autodesk VIZ and related products.
While it works the same for all products, some
functions are specific to each. You can use
MAXScript to automate many tasks, including
modeling, animation, material construction,
and rendering. You can also use MAXScript to
add custom command-panel rollouts to the user
interface.
The interface to MAXScript is on both the
MAXScript menu (page 3–394) and the Utilities
panel (page 3–499).
Matte object reveals part of the background, making the
hamburger geometry appear to be inside the oven.
A matte object is invisible but blocks any geometry MI Files

behind it. However, it does not block the
background. The MI file (.mi) contains a mental ray scene
description that a mental ray renderer can use
For example, you might make a complex scene to render your Autodesk VIZ scene. When you
for the background of your animation, render render with the mental ray renderer, you can
it once, then assign the resulting bitmap as a export to a text (ASCII) .mi file. (There is a binary
background using only a few animated objects .mi format as well. The mental ray renderer in
during the rendering of the animation. If you Autodesk VIZ does not generate this format.) The
then needed one of your objects to appear from exporter always generates mi3 (mental ray version
behind some portion of the background, such as 3) format. It does not support mental ray version
a building, you would create a matte object that 1 (mi1).
matches the building. You then place the animated
object behind it. The bitmap image of the building You specify a name and location for the .mi file
appears, but the animated object is blocked until it on the Render Scene dialog > Processing panel >
moves from behind the matte object. Translator Options rollout (page 2–1415).
Matte objects, though invisible, can cast shadows. See the mental ray manual, Programming mental
ray, for a complete description of the mental ray
Matte objects can also receive shadows. When the scene description language.
Matte/Shadow material’s Affect Alpha check box is
set, shadows cast on the matte object are applied to
the alpha channel. This lets you render maps with
alpha shadows that you can composite later. To
Modal/Modeless 701
The modifier stack (page 3–481) is the key to

Modal/Modeless managing all aspects of object modification. You
Modal is a command state or dialog that affects all use the stack to:
operations. You must change the mode or dismiss • View and manipulate the sequence of modifiers
the dialog before doing any operations that don’t • Find a particular modifier
pertain to that mode.
• Adjust a modifier’s parameters
Modeless means a nonexclusive command
• Select a modifier’s gizmo or center
state or dialog. You can do other operations
and commands without changing the mode or • Activate or deactivate a modifier
dismissing the dialog. • Delete or disable a modifier
For example, the Track View and Material Editor The effect of modifiers is directly related to their
dialogs are modeless, while the Open File dialog sequence, or order, in the stack.
is modal.
Where you put a modifier in the stack is critical,
because the program applies modifiers in their
stack order, beginning at the bottom, and carries
Modifier Stack
the cumulative change upward.
By clicking any entry in the stack, you go back
to the point where you made that modification.
You can then rework your decisions or discard the
modification entirely by deleting it. You can also
insert a new modifier in the stack at that point.
Modifiers
Example: Modifier stack display of cylinder with two
modifiers applied to it
Example: effects of the twist modifier on an object
Modifiers (page 2–23), as the name implies,

Example: Stack display of mesh showing its sub-object modify an object’s geometrical structure,
hierarchy, and Edge sub-object level chosen deforming it in some way. When you apply a taper
702 Glossary
modifier (page 2–232) to the end of a cylinder, for

example, the vertices near the end move closer MSP (MAXScript Package) Files
together. Modifiers make changes in the geometry A MAXScript Package (MSP) combines the set of
that stay in effect until you adjust or delete the files that make up a scripted tool into a single file.
modifier. An MSP file can contain bitmaps, script sources,
icons, and so on.
Motion Blur For more information about MSP files, see the
MAXScript Reference: Help menu > MAXScript
Reference
Multiplicity
In NURBS modeling, multiplicity is the property
of coincident or nearly coincident CVs that reduces
the continuity level of the curve or surface. Two
coincident CVs locally increase curvature. Three
coincident CVs (or more) create an angular cusp.
Fusing CVs shows the effect of multiplicity.
Motion blur enhances the movement of the sword.
Motion blur can enhance the realism of a rendered

camera works. A camera has a shutter speed, and
if significant movement occurs during the time the
shutter is open, the image on film is blurred. Effects of multiplicity:
Autodesk VIZ provides a variety of ways to apply On the left, three coincident CVs create a sharp angle.
motion blur: On the right, only two coincident CVs in the same location
create a gentler curve.
• Image Motion Blur (page 3–688) applies
motion blur to entire frames of an animation.
• Motion Blur Rendering Effect (page 3–50) lets Multiplier
you apply image motion blur as a rendering
effect (page 3–2).
• Object Motion Blur (page 3–706) applies
motion blur to specified moving objects in a
scene. Object motion blur is best for making
fast-moving objects appear to move more
smoothly.
Left: Default light multiplier of 1.0
Right: Multiplier of 5.0 causes burned colors
Multiplier Curve 703
The Multiplier value in every light lets you increase the original track, you affect the entire range of the
the intensity, or brightness of the light beyond its original animation.
standard range.
A multiplier curve shifts the value of the original
Since increased Multiplier values tend to wash out, track up or down. At a given frame, the value of
or "burn" portions of the image, you’re better off a multiplier curve is a scale factor applied to the
adding lights, or reducing the intensity of other value of the original function curve.
lights when you need to adjust the brightness of • The default value of a Multiplier curve is a
areas in your scene. Remember that you can adjust horizontal line with a value of 1.0.
the intensity of a light using its V(alue) spinner. In
most cases, it’s better to adjust the V spinner than • Values greater than 1.0 increase the value of the
to alter the default Multiplier value. function curve.
• Values below 1.0 decrease the value of the
function curve.
• Values less than 0.0 negatively scale the value
of the function curve.
See also
Left: Spotlight with negative multiplier subtracts light from Ease Curve (page 3–670)
the scene.
Right: Multiplier of 0 and a negative density on a shadow
whose color is white creates the effect of a negative shadow. Network Manager
An unusual characteristic of the Multiplier is that The Network Manager service (Network Manager)
you can use negative values to create negative light. is a service that must be installed on at least one
You can use negative lights to further control the computer in each group of computers that will
lighting in your scene. For example, you might participate in network rendering.
want a darker area in the corner of a room.
The Network Manager communicates with a
A negative Multiplier value reverses the color of specified group of Network Rendering Servers to
the light, so a red light would become cyan (the assign jobs and monitor rendering progress. The
complementary color). In addition, the map image Network Manager also handles the scheduling of
in a projector light becomes a negative image. jobs and the configuration of servers through the
Queue Monitor client.
Multiplier Curve It’s often best to place the Network Manager on

a computer that isn’t in use as a workstation and
Multiplier curves are special function curves that isn’t shut down regularly. The Manager Service
you use to apply animated value displacements to can impact CPU and network performance
other function curves. when network rendering is taking place, and the
When you edit keys and function curves, you Network Manager must be present at all times for
apply localized changes to your animation at network rendering to work.
specific times. By applying a multiplier curve to The ideal place to install the Network Manager is
on a file server. If you have a PC already set up as
704 Glossary
a texture-map file server, this would be an ideal you can specify the times of day that the Server is
place for it. available to do network rendering.
You specify which PC is to be the Network You specify which PCs are to be servers in the Job
Manager in the Network Job Assignment dialog, a Assignment dialog (page 2–1481), a subdialog of
subdialog of the Render Scene dialog. Render Scene.
Network Rendering Node

Network Rendering is the rendering of animations Every entity in a Autodesk VIZ scene is represented
using more than one computer connected by a in Track View and Schematic View as a node.
network. The node track acts as a container for the object’s
geometry, its transforms, assigned materials
Large and complex animations take many hours to
and modifiers, and so on. The node track in
render, even on the fastest PCs. Network rendering
Track View can be collapsed, so all the associated
allows you to use the power of other computers to
components are hidden. This speeds the
speed up the process. Any network-connected PCs
navigation of the Track View hierarchy list. Nodes
that have the software installed can participate.
also provide the building blocks for hierarchies.
You can even render using computers connected
Parent/child relationships are created by linking
only by the Internet.
objects node-to-node.
Setting up network rendering involves installing
”Node” is distinct from the term “object,” because
three kinds of programs:
the “object” refers more narrowly to geometry: the
• The Network Manager, which should be mesh, or NURBS surface, spline, or patch, and so
installed on a central file-server PC. on. The same instance of an object (mesh) can be
• The Network Rendering Server, which must be shared by multiple nodes, but each node in the
installed on all participating PCs. scene is unique.
• The Queue Monitor client provides a
user-interface to monitor and control network
rendering. It can be installed on any of the
Normal
participating PCs.
Network Rendering Server

The Network Rendering Server must be running
on any computer dedicated to rendering a job
remotely.
The Server communicates with the Network
Manager and starts the program on that computer
to render network processes. The Server has no
user interface itself, but you can set various options
for it from the Queue Monitor client. For example, The normal of each face can point in a different direction.
NTSC 705
A normal is a vector that defines which way a face

or vertex is pointing. The direction of the normal NURBS Curve
indicates the front, or outer surface of the face or A curve object created by NURBS modeling (page
vertex. 3–705). NURBS Curves can be either Point Curves
You can manually flip or unify face normals to fix or CV Curves. You can use them as you do spline
surface errors caused by modeling operations or curves in Shape objects.
by importing meshes from other programs.
See also NURBS Model

Normal modifier (page 2–167)
NTSC
NTSC (National Television Standards Committee)
is the name of the video standard used in North
America, most of Central and South America, and
Japan. The frame rate is 30 frames per second
(fps) or 60 fields (page 3–675) per second, with
each field accounting for half the interleaved scan
lines on a television screen.
Fountain modeled using NURBS surfaces
NURBS A NURBS object (page 3–705) consisting of

one or more sub-objects. The Autodesk VIZ
documentation uses "NURBS model" to
emphasize the final result of NURBS modeling
using a variety of sub-objects and techniques.
NURBS Surface
A surface object created by NURBS modeling
(page 3–705). NURBS Surfaces can be either Point
surfaces or CV Surfaces.
Fountain basin modeled as a NURBS surface
NURBS (Non-Uniform Rational B-Splines) are

a technique for interactively modeling 3D curves
and surfaces.
706 Glossary
viewport, what you see as multiple objects are

Object multiple instances of the same definition.
For example, if you wanted to create a school
of swimming fish, you might begin by making
many instanced copies of a single fish. You could
then animate the swimming motion by applying
a Ripple modifier to any fish in the school. The
whole school would swim with exactly the same
motions.
Object Motion Blur

Object motion blur applies a blur effect to
make fast-moving objects appear to move more
An assortment of geometric primitive objects
smoothly in animations. It is a form of "temporal
"Object" means an object in the scene, such as antialiasing."
primitive geometry like boxes and spheres, more
complex geometry such as Booleans, and so on.
Geometric objects are renderable. A scene can
also contain non-renderable objects such as lights,
cameras, and helpers.
You add objects to a scene by selecting the Create
menu or from the Create panel.
Object Instance
In Autodesk VIZ, an instance is a completely
interchangeable clone of the original object.
Left: Object motion blur. Right: Object motion blur with
Modifying an instanced object is the same as
dithering.
modifying the original.
Instances are not only alike in geometry, but also Tip: Don’t use object motion blur to simulate the
share modifiers and materials. When you change blur created by a camera. For this purpose, use
one instance by applying a modifier, for example, image motion blur (page 3–688).
all the other instances change with it.
Applying object motion blur is a two-step process:
Each instance has its own set of transforms, object 1. Turn on object motion blur for the object you
properties, and space warp bindings. These are want to blur, using the Object Properties dialog
not shared among instances. (page 1–107).
Within Autodesk VIZ, instances derive from the You cannot apply both image motion blur and
same master object. What you’re doing is applying object motion blur to the same object in the
a single modifier to a single master object. In the same rendering.
Object Space 707
2. Before you render, turn on object motion blur List, you are telling the program to use the Object
in the Default Scanline Renderer rollout (page Space origin of one or more selected objects as the
2–1343) of the Render Scene dialog. center of a transform or modifier effect.
Object motion blur works by rendering multiple When you choose Local from the Reference
copies of the object in between frames and then Coordinate System list (page 1–364) (on the main
rendering them together. It is not affected by toolbar), you tell the program to use a selected
camera movement. object’s object space for the orientation of the
active coordinate axes.
Most modifiers (page 3–701) operate in object
Object Space space. See Object-Space Modifiers (page 2–51).
Object-Space Modifiers
Object space is the coordinate system unique
to each object in your scene. An object-space
modifier, as opposed to a world-space modifier
(page 3–748), directly affects an object using the
object’s local coordinates.
Object-space modifiers appear directly above the
object in the modifier stack (page 3–701), and
their effect can depend on the order they appear
A book in object space rests on a table in world space. in the stack.
Object space is the coordinate system unique to
each object in your scene. It tracks the location
of everything applied to an object. The location
of object vertices, the placement of modifiers,
mapping coordinates, and materials are all defined
in object space. By convention, especially in
discussions of texture mapping, object-space
coordinates are expressed as UVW coordinates, as
opposed to the XYZ coordinates of world space
(page 3–748).
Each object has its own local center and coordinate
system as defined by the location and orientation
of the object’s pivot point. The local center and
coordinate system of an object combine to define
its object space.
When you choose Use Pivot Point Centers from
the toolbar or Use Pivot Points from the Modifier
708 Glossary
Omnidirectional Light Opacity Falloff

Real transparent surfaces vary their opacity,
depending on the angle of the material to your
point of view. For example, a bottle appears more
transparent at its center than at its edge because
you’re looking through more glass at its edge.
In the Extended Parameters rollout, you can
specify the falloff of the transparency, based on
the angle of the face normals to the view. If a face
is perpendicular to the viewer, the angle of its
normal is 0 degrees. If the face is edge-on to the
viewer, its normal angle is 90 degrees.
Falloff is either inward or outward:
In—Transparency increases as the normal angle
approaches 0 degrees and decreases as the angle
approaches 90 degrees. This gives the appearance
of a hollow object such as a glass ball or bottle.
Above: Top view of an omni light

Below: Perspective view of the same light
Omnidirectional (omni) lights are standard light

objects (page 2–927) that provide a point source
of illumination that shoots out in all directions.
They’re easy to set up, but you can’t restrict the Inward opacity falloff
focus of their beam. You can, however restrict Top: None
which objects are illuminated by an omni light. Bottom: 100%
When no lights exist in your scene, two invisible Out—Transparency increases as the normal angle
omni lights are turned on by default to provide approaches 90 degrees and decreases as the angle
overall illumination in the scene. However, as soon approaches 0 degrees. This gives the appearance
as you create your own light in the scene, the two of a solid object such as a cloudy glass marble.
default lights are turned off.
You can apply attenuation to omni lights.
Operand 709
Origin
Outward opacity falloff

Top: None
Bottom: 100% Origin is the 0,0,0 point where the X, Y, and Z axes intersect.
The falloff amount never makes the object less A coordinate system assigns an arbitrary point in
opaque than the value of the Opacity spinner. For space as the origin, and sets each axis at that point
example, if Opacity were set to 50, and Falloff set to to zero.
In, the inner portions would remain at 50 percent
opacity, and the Amt. spinner would change the In the world coordinate system (page 3–748),
outer edges, until they became opaque at 100. numbers increase from the origin to the right along
the X axis, upward along the Y axis, and away from
you on the Z axis. Numbers decrease (–1, –2, –3,
Operand and so on) to the left along the X axis, downward
along the Y axis, and toward you along the Z axis.
An operand is one of a set of objects upon which The distance between each whole number is called
an operation such as Boolean (page 1–298) is to be a unit of measurement (a Autodesk VIZ unit).
done. The Boolean operation takes two operands:
the first operand is called operand A, and the You can combine the measurements of all three
second operand is called operand B. axes to mark specific locations in 3D space. The
combined measurements are called coordinates.
Thus, at the origin, the coordinates are X=0, Y=0,
Z=0, which can be expressed more simply as the
vector (0,0,0).
From the origin, the coordinates at a location 100
units to the right, 150 units up, and 60 units away
are X=100, Y=150, Z=60, or (100,150,60).
710 Glossary
viewports to the various orthographic views using

Orthographic View the viewport right-click menu (page 3–453) or
keyboard shortcuts (page 3–601).
Out-of-Range Types
When you specify values and keys for a controller,

you are defining animation over a range of time.
You choose Out-of-Range Types to determine how
the animation continues outside a specified range.
Out-of-Range choices include holding a constant
value, and various ways of repeating the animated
range.
The easiest way to work with Out-of-Range Types
is in the Track View Function Curve mode.
Orthographic views of a model
You use the Parameter Out-of-Range dialog to
Whether produced on computer or paper, most project the pattern of the key dots in the selected
3D design relies on 2D representations for accurate track. These patterns are applied to the animation
description of objects and their positioning. outside the range of all keys in the track. This is
Maps, plans, cross-sections, and elevations are why they’re called out-of-range types.
all examples of 2D representations. Each of these
views represents an orthographic view. In familiar By default, tracks use a constant out-of-range type.
terms, you might think of these views as "flat" or This means that the track values before and after
"straight-on," or as "looking at right angles." the range of keys remain constant. For example, in
a 100-frame animation with keys up to frame 20,
Orthographic views are two-dimensional, the X, Y, and Z values after frame 20 remain the
each defined by two world coordinate axes. same for the rest of the animation. The objects in
Combinations of these axes produce three pairs this example do not move from frame 20 to frame
of orthographic views: top and bottom; front and 100.
back; left and right.
Orthographic views are a special case of
axonometric views (page 3–659). You can set
Overshoot 711
Applying the Cycle out-of-range type will make Overshoot is useful when you want to light a large
the key pattern in frames 0–20 repeat cyclically for area but need to cast shadows in only a small
the remaining 80 frames. part of that area. Set the falloff to include the
area where shadows must appear, and then turn
on Overshoot to light the rest of the scene. This
Overshoot technique can reduce the size of shadow maps and
thereby improve rendering speed.
PAL
PAL (Phase Alternate Line) is the video standard
used in most European countries. The frame rate
is 25 frames per second (fps) or 50 fields (page
3–675) per second, with each field accounting
for half the interleaved scan lines on a television
screen.
Parameter Space
In addition to their existence in 3D space, NURBS
objects have a parameter space that includes the
array of knot values. NURBS curves have a single
U dimension in parameter space. NURBS surfaces
have two dimensions, UV, in parameter space.
Above: No overshoot
Below: Overshoot turned on
The Overshoot option causes a spotlight to Parameter/Parametric

flood beyond its falloff area, and cast light in
all directions. With Overshoot turned on, the
spotlight casts light in all directions but casts
shadows only within its falloff cone.
The Overshoot control effectively turns the
spotlight into a hybrid between an Omni light and
a spotlight. With Overshoot set, the spotlight casts
light in all directions as an Omni light does but still
casts shadows or projections as other spotlights
do. The shadows and projections are limited to
the falloff region: outside the cone of the spotlight,
Overshoot casts light but does not cast shadows
or projections. A tube is one example of a parametric object. Varying its
parameters creates varying geometry.
712 Glossary
A parameter is a setting or value that you can

change. Many objects in Autodesk VIZ have Patch
parameters that you can change to alter the size
or shape of the object. This type of object can be
described as parametric.
Unlike physical building blocks, which have a fixed
shape and size, the geometric primitives (box,
sphere, torus, and so on) are parametric; you can
change their dimensions, segment settings, and
other features after you create them. Parametric
objects respond to changes in their parameters by Example of a patch model
dynamically updating their properties.
A patch is a type of deformable object. A
Changing a parameter can dramatically alter patch object is useful for creating gently curved
the structure and appearance of an object. For surfaces, and provides very detailed control for
example, you can turn a cylinder into a prism manipulating complex geometry.
by reducing the number of sides and turning the
When you apply an Edit Patch modifier (page
Smooth option off. Alternately, you can turn a
2–74) to an object or convert it to an editable
cone into a four-sided pyramid using the same
patch (page 2–316) object, the software converts
technique.
the object’s geometry into a collection of separate
Objects that you merge from 3ds Max allow you to Bezier patches. Each patch is made up of three
access parametric values. Objects in drawings that or four vertices connected by edges, defining a
you link from Autodesk Architectural Desktop surface. Patches also have interior vertices that you
should be edited in Architectural Desktop, then can control, or let the software control for you.
relinked to Autodesk VIZ with the File Link
You control a patch surface’s shape by
Manager (page 3–323).
manipulating the vertices and edges. The surface
is the renderable geometry of the object.
PASS File
A PASS (.pass) file saves the result of a single Path
mental ray rendering (page 2–1377) pass. You
A path is the line (or other shape) along which
can create a final rendering by merging multiple
shapes are lofted to create 3D Loft objects (page
passes. The PASS file format includes Z-buffer
1–312).
information to aid in merging passes.
The Path constraint (page 2–745) also lets you
Controls for creating and merging PASS files are
assign a line or other shape as a motion path. A
on the Render Scene dialog > Processing Panel >
motion path is a form of trajectory (page 3–741).
Translator Options rollout (page 2–1415).
Perspective View 713
Get Path (Lofting) so that the tangent to the first vertex of the path is
aligned with the negative Z axis of the shape.
Perspective View
A circle is lofted along a path to construct a tubular shape.

Get Path chooses the path spline
You use Get Path as a loft creation method when

you want the path to move to the location of the
selected shape. For example, you use this method Perspective view of the ice-cream shop
if you have created a shape at the exact location Perspective views most closely resemble human
where you want the base of your loft object to be. vision. Objects appear to recede into the distance,
You use Get Path to create a loft at that location. creating a sense of depth and space. For most 3D
Get Path causes the path shape to move and rotate computer graphics, this is the view used in the final
to align itself with the first shape on the path: output that the client sees onscreen or on the page.
• The first vertex on the path is located at the first There are three ways to create a perspective view
shape’s pivot point. in a viewport: perspective view, camera view, and
• The tangent to the first vertex on the path is light view.
aligned with the positive Z axis of the first A perspective viewport, labeled Perspective, is one
shape. of the default viewports. You can change any active
• The local Z axis of the path is aligned with the viewport to this eye-like point of view by pressing
local Y axis of the first shape. the keyboard shortcut P.
• The local coordinate system of the resulting A camera view requires that you first create a
loft object equals the local coordinate system of camera object in your scene. The camera viewport
the path after it has been aligned with the first tracks the view through the perspective of that
shape. camera. As you move the camera (or target)
in another viewport, you see the scene swing
Sometimes, aligning the tangent of the path with
accordingly. If you alter the camera’s field of
the positive Z axis of the first shape does not
view on the Modify command panel, you see the
produce the result you want. You can flip the
changes as they are applied.
orientation of the path by pressing CTRL while
getting the path. Pressing CTRL aligns the path The light view works much like a targeted camera
view. You first create the spotlight or directional
714 Glossary
light and then set the viewport to that light. What is proportional to the number of particles hitting
you see in the viewport is the view from the light the surface during a time interval of 1 second.
looking into the scene. This is very useful for
Illuminance is the luminous flux incident on
adjusting the correct distances of hotspot and
a surface of unit area. This quantity is useful
falloff for the light.
for describing the level of illumination incident
on a surface without making the measurement
dependent on the size of the surface itself. The SI
Photometry unit of illuminance is the lux (lx), which is equal to
When you use photometric lights (page 2–941), 1 lumen per square meter. The corresponding AS
Autodesk VIZ provides physically based unit is the footcandle (fc), equivalent to 1 lumen
simulation of the propagation of light through per square foot.
an environment. The results are not only
Part of the light incident on a surface is reflected
highly realistic renderings, but also accurate
back into the environment. The light reflected
measurements of the distribution of light within
off a surface in a particular direction is called
the scene. The measurement of light is known as
luminance, the quantity that is converted to
photometry. This topic introduces the quantities
display colors to generate a realistic rendering of
used for defining and measuring light.
the scene. Luminance is measured in candelas per
There are several theories that describe the nature square meter or candelas per square inch. The
of light. For this discussion, we define light as candela was originally defined as the luminous
radiant energy capable of producing a visual intensity emitted by a single wax candle.
sensation in a human observer. When we design
Finally, luminous intensity is the light energy per
a lighting system, we’re interested in evaluating
unit time emitted by a point source in a particular
its effect on the human visual response system.
direction. The unit of measure of luminous
Thus photometry was developed to measure light,
intensity is the candela. Luminous intensity is
taking into account the psychophysical aspects of
used to describe the directional distribution of a
the human eye/brain system. Four photometric
light source, that is, to specify how the luminous
quantities are used in the lighting simulation
intensity of a light source varies as a function of
system:
the outgoing direction.
• Luminous flux
Because Autodesk VIZ works with these physically
• Illuminance based photometric values, it can accurately
• Luminance simulate real-world lighting and materials.
• Luminous intensity
Luminous flux is the quantity of light energy per Photon Map
unit time arriving, leaving, or going through a
surface. The unit of luminous flux is the lumen A photon map™ is a technique to generate the
(lm), which is used in both the International indirect illumination effects of caustics (page
System (SI) of Units and in the American System 2–1391) and global illumination (page 2–1392)
(AS) of Units. If we think of light as particles when you render with the mental ray renderer
(photons) moving through space, then the (page 2–1377). When it calculates indirect
luminous flux of a light beam arriving at a surface illumination, the mental ray renderer traces
Pivot Point 715
photons emitted from a light. The photon is traced

through the scene, being reflected or transmitted Pivot Point
by objects, until it strikes a diffuse surface. When
it strikes a surface, the photon is stored in the
photon map.
Generating photon maps is time-consuming. To
improve performance, you must explicitly specify:
• Which lights emit photons for indirect
illumination.
• Which objects can generate caustics or global
illumination.
• Which objects can receive caustics or global
illumination.
Pivot point sets hand to the center of the clock face.
The settings for generating and receiving caustics
are on the Object Properties dialog > mental ray The transform center, or pivot point, is the spot
Panel (page 1–116). about which a rotation takes place, or to and from
which a scale occurs.
The photon map stores photons only for objects
that can receive caustics, global illumination, or All objects have a pivot point. You can think of the
both. pivot point as representing an object’s local center
and local coordinate system.
To further reduce the time required to generate a
photon map, photons are limited by trace depth The pivot point of an object is used for a number
controls. Trace depth limits the number of times a of purposes:
photon can be reflected, refracted, or both. • As the center for rotation and scaling when the
Pivot Point transform center is selected.
In animations, another way to save time is to reuse
the photon-map file. If lighting doesn’t change • As the default location of a modifier center.
over the course of an animation, calculate and • As the transform origin for linked children.
save the photon-map file for the first frame, then
• As the joint location for IK.
choose the Use Existing option for rendering
subsequent frames. You can display and adjust the position and
orientation of an object’s pivot point at any
The mental ray renderer saves photon maps as
time using the Pivot functions in the Hierarchy
PMAP files (page 3–716). Photon map controls
command panel. Adjusting an object’s pivot has
are on the Render Scene Dialog > Indirect
no effect on any children linked to that object.
Illumination panel > Caustics And Global
Illumination rollout (page 2–1404).
Pixel
A pixel (short for Picture Element) is a single point
in a graphic image. Graphics monitors display
716 Glossary
pictures by dividing the screen into thousands (or points as NURBS points (though you can convert
millions) of pixels, arranged in rows and columns. a spline to a NURBS curve).
Plug-Ins Point Curve

A plug-in is a feature or functionality supplied
by an independent program or component.
Plug-ins can be supplied by third-party vendors or
independent software developers.
The open architecture provides an API
(application programming interface) designed to
make it easy for other companies to write plug-ins
that extend the core functionality of Autodesk VIZ.
PMAP File
A PMAP (.pmap) file is a mental ray photon-map NURBS point curve
(page 3–714) file. This is a binary file that the A curve defined by points. The points are
mental ray renderer (page 2–1377) uses to generate constrained to lie on the curve. (Or you can
the effects of caustics (page 2–1391) and global think of the curve as being dependent on its point
illumination (page 2–1392). You specify a name locations.) More than one NURBS solution is
and location for the PMAP file on the Render possible for a Point Curve; occasionally this can
Scene dialog > Indirect Illumination panel > cause unexpected results.
Caustics And Global Illumination rollout (page
2–1404).
Point Surface
Point
A point in three-space, created when you use
NURBS modeling to create a Point Curve or Point
Surface, or when you create an individual point
sub-object. Points that are part of a Point Curve or
Point Surface are constrained to lie on the curve
or surface.
Points behave somewhat like vertices for spline
objects (page 1–237), but their behavior is not
identical and they are a distinct object type. Helper
object points (page 2–638) are also a distinct
object type. You can’t use spline vertices or helper NURBS point surface
Precedence 717
A surface defined by points. The points are achieved by determining the fractional coverage of
constrained to lie on the surface. (Or you can pixels on the edge of the object, and then adjusting
think of the surface as being dependent on its the alpha of the pixel to reflect this. For example, a
point locations.) More than one NURBS solution pixel that is 30% covered by the object will have an
is possible for a Point Surface; occasionally this can alpha of 0.30.
cause unexpected results.
To antialias the edges, the alpha must be
premultiplied to darken these edge pixels. (This is
equivalent to compositing the image over a black
Precedence image). So it is natural, in a sense, for rendered
You control an IK solution (page 3–687) by images to have premultiplied alpha. If you do not
setting joint precedence to determine which joints premultiply the alpha of a rendered image, then
contribute the most to the IK solution and which just looking at the RGB you will see jaggies on the
joints contribute the least. edges of objects. You would need to composite it
against black using the alpha channel whenever
Joints with high precedence values are calculated
you wanted to display it.
first, and, therefore, contribute more motion to the
IK solution. Joints with low precedence values are Note: To control whether or not the renderer
calculated last, and, therefore, contribute the least uses the environment map’s alpha channel in
motion to the IK solution. creating the alpha for the rendered image, choose
Customize > Preferences > Rendering, and
Joints with equal precedence values are calculated then turn on Use Environment Alpha in the
by their order in the hierarchy. Joints deeper in the Background Antialiasing group.
hierarchy (closer to the end effector) are calculated
first and joints closer to the root are calculated last. If Use Environment Alpha is turned off (the
default), the background receives an alpha value of
0 (completely transparent). If Use Environment
Premultiplied Alpha Alpha is turned on, the alpha of the resulting image
is a combination of the scene and background
There are two methods of storing alpha in a image’s alpha channel. Also, when you render to
bitmap: premultiplied and nonpremultiplied. TGA files (page 3–276) with Pre-Multiplied Alpha
To composite an image that is in nonpremultiplied set to off, turning on Use Environment Alpha
format, the alpha must be multiplied by each of prevents incorrect results.
the R, G, and B channels before adding it to the Tip: If you plan to composite objects in another
color of the background image. This provides the program such as Combustion or Photoshop,
correct transparency effect, but it must be done render the objects against a black background.
each time you composite. With premultiplied Otherwise, a fringe of environment or background
alpha, you store the R, G, and B components with color can appear around the objects.
the alpha already multiplied in, so compositing is
more efficient.
This is not the only reason that Autodesk VIZ Procedural Maps
stores images in the premultiplied format. When Unlike a bitmap, which is an image produced by
you render an image, you typically want the edges a fixed matrix of colored pixels like a mosaic, a
of the objects to be antialiased. This effect is procedural map is generated by a mathematical
718 Glossary
algorithm. Consequently, the types of controls

you might find for a procedural map will vary Projector Light
depending on the capabilities of the procedure.
Shadows created by projecting image of palm trees
By adding a map to a light, you turn it into a

projector. You can assign a single image, or you
can assign an animation to create the effect of
either a slide projector or a movie projector.
You can also use projector maps to project black
and white bitmaps to simulate shadows seen
through leaves or window frames, in the same way
that gobos are used in theater lighting.
You’re not limited to circular projectors. Since
you’re usually projecting a rectangular image, you
can use a rectangular light to project it. You can
Three procedural maps (bricks, Perlin marble, and splat),
use the Bitmap Fit option to adjust the aspect ratio
with variations
of the light beam to match that of the projected
A procedural map can be generated in two image.
dimensions, or in three. For example, Wood has a
When you use projection lights, it’s often helpful
grain that goes through the assigned geometry. If
to adjust their roll angle. You can do this with
you cut away part of an object with wood assigned
the navigation controls or with the roll angle
as its texture, the grain in the cutaway portion
manipulator (page 2–965).
matches the grain on the object’s exterior: it is all
generated by the same procedure.
Quadtree
A quadtree is a data structure used to calculate
ray-traced shadows (page 3–720).
Queue Monitor 719
The quadtree represents the scene from the point with appropriate TCP/IP networking services,
of view of the light. The root node of the quadtree including over the Internet. In other words, you
lists all objects that are visible in that view. If too can monitor and control network rendering
many objects are visible, the node generates four services from any computer connected to the
other nodes, each representing a quarter of the Internet, in addition to using the Internet as a
view, each with a list of objects in that portion. wide-area backbone for a network rendering farm.
This process continues adaptively, until each
node has only a small number of objects, or the
quadtree’s depth limit (which can be set for each Radiosity
light) is reached.
A technique to calculate indirect light to illuminate
Each shadow-casting light ray needs to test a scene. Radiosity calculates the interreflections of
intersection with the objects in only one of the diffuse light among all the surfaces in your scene.
leaf nodes of the quadtree. This helps speed up The result is the radiosity solution (page 3–719).
the ray-tracing process. In general, increasing See Modeling Global Illumination with Radiosity
the maximum quadtree depth can speed up (page 2–1350).
ray-tracing at a cost of memory.
The maximum size of a quadtree is the square of
two to the power of the maximum quadtree depth.
Radiosity Solution
At a depth of 7, the largest quadtree has 128 x 128 The calculation of the radiosity (page 3–719) effect
leaf nodes; at a depth of 10, the largest quadtree in a scene. You compute the radiosity solution as a
has a size of 1028 x 1028 leaf nodes, and so on. separate step from rendering. Once the solution is
(On the other hand, because each successive node computed, it can be used for multiple renderings.
contains fewer objects, the size of a node’s record See Modeling Global Illumination with Radiosity
decreases the deeper it is in the tree.) (page 2–1350).
Note: An omni light can generate up to ten
quadtrees, so omni lights that cast ray-traced
shadows use more memory at render time than Ray-Trace Acceleration (mental
spotlights do. ray Renderer)
The mental ray renderer (page 2–1377) provides
three different ray-tracing methods of accelerating
Queue Monitor the process of ray tracing. The methods are:
The Queue Monitor is a standalone • BSP (Binary Space Partitioning). This method
network-administration tool that provides (the default) performs best for most purposes.
a user interface to monitor and control network
• Grid. This method can perform better on
rendering.
multiprocessor systems.
The Queue Monitor can connect to any computer • Large BSP. This method can perform better
to which you have network access with the with large scenes and with distributed bucket
appropriate security permissions, and a Network rendering.
Manager running on it. You can install the Queue
Monitor separately. It will function correctly on
any Intel-based computer running Windows NT
720 Glossary
You set the raytrace acceleration method on

the Render Scene Dialog > Renderer panel > Ray-Traced Shadows
Rendering Algorithms rollout (page 2–1413).
Ray-Trace Bias
On the right, increased map bias makes the dog appear to

float.
Example of ray-traced shadows
A single parameter, Ray-Trace Bias, affects the
generation of ray-traced shadows (page 3–720). Ray-traced shadows are generated by tracing
You set this parameter in the Shadow Parameters the path of rays sampled from a light source.
rollout. Ray-traced shadows are more accurate than
shadow-mapped shadows (page 3–730). They
The Ray-Traced bias control in the Shadow
always produce a hard edge.
Parameters rollout moves the shadow toward or
away from the shadow-casting object (or objects). Ray-traced shadows are more realistic for
By default, this value is 1 unit. transparent and translucent objects. Also, only
ray-tracing can generate shadows for wireframe
Increasing the bias moves the shadow away from
objects.
the object, and decreasing the bias moves the
shadow closer to the object. The Ray-Trace Bias Because ray-traced shadows are calculated without
value can be any positive floating-point number. a map, you don’t have to adjust resolution as you
do for shadow-mapped shadows. The parameters
For example, if a shadow-casting object intersects
for ray-traced shadows adjust the shadow’s
another object but its shadow doesn’t meet
position (known as ray-trace bias (page 3–720))
properly at the intersection, the bias is too high.
and the depth of the quadtree (page 3–718) used
This effect varies with the angle of the spotlight
to calculate ray tracing.
to the object. Extremely shallow spotlight angles
usually require higher bias values. Advanced ray-traced shadows are the same
as ray-traced shadows, however they provide
Another purpose of bias is to avoid problems with
antialiasing (page 3–653) control, letting you
objects that cast shadows onto themselves. If you
fine-tune how ray-traced shadows are generated.
see streaks or moiré patterns on the surface of the
object, the bias value is too low.
RAYHOSTS File
The RAYHOSTS file is a text (ASCII) file that lists
the name of host systems capable of mental ray
Real Time 721
rendering (page 2–1377) in a distributed network. You can also speed viewport animation by
You turn on distributed rendering on the Render minimizing your viewports to quarter size.
Scene dialog > Processing panel > Distributed
Bucket Rendering rollout (page 2–1421).
Each line in the RAYHOSTS file contains the name
Real-World Mapping
of a host system. The host name can be followed The idea behind real-world mapping is to simplify
by a semicolon and a port number of the service the use of texture mapped materials which scale
to connect to. The host name with or without the correctly with the geometry in the scene. This
port number can also be followed by white space feature gives you the ability to create a material and
and a list of mental ray command-line parameters. specify the actual width and height of a 2D texture
map in the Material Editor. When you assign that
See the manual, Rendering with mental ray, for
material to an object in the scene, the texture map
descriptions of the mental ray command-line
appears in the scene with the correct scaling.
options.
There are two parts to the equation in order for
When you click Add on the Distributed
real-world mapping to work. First, the correct
Bucket Rendering rollout and use the Add/Edit
style of UV texture coordinates must be assigned
DBR Hosts dialog (page 2–1424) to add a host or
to the geometry. Essentially, the size of the
satellite processor, this updates the RAYHOSTS
UV space needs to correspond to the size of
file. So does clicking Remove to remove a
the geometry. Therefore, a new switch called
processor.
Real-World Map Size has been added to many of
The RAYHOSTS file is named max.rayhosts. the dialogs and rollouts where you can generate
By default, it is located in the \mentalray directory texture coordinates. Any dialog or rollout in which
inside the program folder. You can change the you have the option to turn on Generate Mapping
default location by creating an environment Coords also has a switch where you can turn on
variable named MAX<X>_MI_ROOT, where Real-World Map Size.
<X> is the Autodesk VIZ version number, and
The other part of the equation is in the Material
setting the variable’s value to the path of the
Editor. When you create a material and use a 2D
max.rayhosts file you want to use.
texture map, you now see a new switch in the
Coordinates rollout called Use Real-World Scale.
When this switch is turned on by default, the
Real Time
Width and Height spinners are enabled that let
By default, viewport animations play in real time, you specify the horizontal/vertical offsets and size
skipping frames where necessary. of the texture map in current system units (page
3–582).
You can turn this off by clicking Time
Configuration in the time controls, and then Note: Autodesk VIZ scenes with objects using real
turning off Real Time in the Playback group box of world mapping coordinates will display differently
the Time Configuration dialog (page 3–447). when opened in 3ds max. This is because real
world mapping coordinates are not the default
When Real Time is turned off, all frames are
method of generating mapping coordinates.
displayed during playback. The playback may
appear slow, but you’ll know that you’re seeing
every frame.
722 Glossary
HSV Sliders
Red, Green, Blue / Hue, Saturation,
Value
There are two sets of color sliders in the Color
Selector (page 1–132): the red/green/blue (RGB)
set and the hue/saturation/value (HSV) set. You
can use either set or both to mix a particular color.
As you adjust the color sliders, their RGB and HSV
numeric values appear in the spinners.
There are separate RGB and HSV spinners as light If you prefer the hue/saturation/value color
parameters (page 2–911). system, you can use the HSV sliders to mix color.
First move the Hue slider to the color band you
RGB Sliders want (if the Value and Saturation sliders are set
to low values, you don’t see an immediate result
in the swatch). Move the Value slider to set the
brightness, or intensity of the color. Move the
Saturation slider to determine the purity of the
color. The higher the saturation, the less gray the
color.
Reference
Each of the RGB sliders is a band of red, green, or
References are like "one-way" instances.
blue (the primary light colors) shaded from black
Referenced objects are based on the original
to the full intensity of the color. When you move
object, as are instances, and can have their own
any slider, it mixes with the values of the other
unique modifiers. Any modification made to the
two, and the result appears in the swatch beneath
original object is passed on to its references, but
the sliders.
any modification made to a reference is not passed
For example, if you move the Red slider all the way back to the original.
to the right (value 255) and leave the other two at
The one-way effect is useful, since you can
the left (0), the active swatch turns red. If you then
maintain an original that will affect all its
move the Green slider all the way to the right, the
references, while the references themselves can
swatch turns yellow. If you move all three sliders
take on individual characteristics.
to 0, the result is black; if all three are at 255, the
result is white; and all three at any point of equal If you are modeling heads, for example, you
value produce shades of gray. might want to keep a family resemblance in your
characters. You could model basic features on the
original, then model specifics on each reference.
In the modifier stack, a solid line separates the
reference from its parent object, so you can see that
Refine 723
the effect of modifiers on the reference will not the viewport using the Animation Synchronization
affect the parent object or other references to it. controls in the Viewport Background dialog. Once
you’ve specified your source device or file in the
Viewport Background dialog, one frame of the
Refine video displays for each scene frame by default.
Remember to tun on Animate Background as well
In NURBS modeling, refining means to increase
as Show Background to have your video frames
the number of CVs on a curve or surface. Refining
appear in sequence in the viewport.
does not change the curvature of the curve or
surface. To produce the composited, rendered image,
use a compositing application to composite
the background image and the rendered scene
Resolution together.
The horizontal and vertical number of pixels in
a 2D image. For example, a 640x480 resolution
describes an image that is 640 pixels across by
RVT Link
480 pixels down. Resolution can also refer to an When working on Revit projects, you can
image’s bit depth, such as 24-bit or 32-bit. import/link DWG, DXF, DGN, RVT and image
files. These files can contain 2D and 3D geometry
You set the resolution of the image you are going to
to help in the construction of your projects. Raster
render on the Render Scene dialog (page 2–1316).
images can be imported as background images
into your Autodesk Revit project or as visual aids
needed during the creation of a model.
Rotoscoping
When you’ve exported the project to a DWG file,
RVT links are comparable to xrefs in an AutoCAD
drawing.
For more information about the Import/Link
features of Revit, refer to the Autodesk Revit Help
file.
Boat is an object composited over video of breaking wave.
Rotoscoping is the process of bringing video

frames into a scene to use as the background for
matching objects.
The way to use rotoscoping is to specify a digital
disk recorder or movie file and read the frames into
724 Glossary
effect is somewhat like the falloff of a soft-edged

Sample Range spotlight.
The default Sample Range value is 4. The Sample
Range value can be any floating-point number
from 0 to 20. Values of 2 to 5 are recommended.
Values below 3 can produce coarse-edged shadows.
You can reduce this effect by increasing the map
size.
Values greater than 5 can produce streaking and
moiré patterns. You can reduce this effect by
increasing the map size or the Bias value.
Rendering time increases exponentially as the
Sample Range value increases.
Low sample range can cause jagged-edged shadows.
Sampling (mental ray Renderer)

Sampling is an antialiasing technique. It provides
a "best guess" color for each rendered pixel. The
mental ray renderer (page 2–1377) first samples
the scene color at locations within the pixel or
along the pixel’s edge, then uses a filter to combine
the samples into a single pixel color.
(In Autodesk VIZ, this technique is called
"supersampling." Because the mental ray renderer
performs sampling on a scene basis, in the Material
Editor, you don’t need to turn on supersampling
Higher sample range causes soft-edged shadows.
for materials rendered using mental ray.)
Sample Range affects the softness of the edge of
shadow-mapped shadows (page 3–730). The
sample range determines how much area within
the shadow is averaged.
Small values reduce the area that is averaged,
effectively bringing the edge of the shadow inward,
producing sharper-edged shadows. Sharper edges
can cause aliasing.
Large values extend the area that is averaged,
effectively bringing the edge of the shadow
outward, producing softer-edged shadows.
Soft-edged shadows have more antialiasing. The
Sampling (mental ray Renderer) 725
You choose the sampling filter and set other

sampling options on the Render Scene dialog >
Renderer panel > Sampling Quality rollout (page
2–1397).
Note: Area lights (Area Omni Light (page 2–938)
and Area Spot Light (page 2–939)) have their own
sampling controls. These affect only shadows cast
by the area light. They are independent of the
sampling used to render the scene as a whole.
Rendering the Sampling Rate

To help you choose a sampling filter, you can
Scene rendered with low sampling is jagged and inaccurate.
render a scene with diagnostics enabled and
Sampling range: 1/64 to 1/4
Sampling Rate chosen on the Render Scene dialog
> Processing panel > Diagnostics rollout (page
2–1420). The Sampling Rate diagnostic tool
gives a schematic rendering that shows how the
sampling method behaves with your scene.
Same scene rendered with higher sampling shows smooth

edges.
Sampling range: 1 to 16
The mental ray renderer provides five filter

methods: Box, Gauss, Triangle, Mitchell, or Rendering with diagnostic display of the sampling rate
Lanczos. Box, the default, is also the quickest. turned on
Mitchell is often the most accurate. The Box filter Sampling range: 1 to 16
combines samples evenly, without weighting them.
Each of the other filters uses a particular curve to The intensity of each pixel indicates the number
weight samples before combining them. of samples collected within it and on its lower
and left edges. The brighter the pixel, the greater
the number of samples. Overall, the View Sample
rendering is normalized so the brightest pixels
have the maximum number of samples. Also, red
boundaries indicate the boundaries of sampling
Curves used to weight samples (these are approximate) tasks.
726 Glossary
Lock Samples and Animation

Scene Extents
By default, the mental ray renderer introduces a
pseudo-random (quasi Monte Carlo) variation in Just as an object’s extents (page 3–673) are its
the sampling pattern from frame to frame. This maximum dimensions in X, Y, and Z, the extents
reduces rendering artifacts in animations. of a scene are its maximum dimensions in these
three axes, and define a box that encloses the entire
You can turn off the sampling variation by turning
scene.
on Lock Samples on the mental ray: Sampling
Quality rollout (page 2–1397).
Scene Motion Blur
Jittering
Motion blur can enhance the realism of a rendered
"Jitters" samples by introducing a variation into
sample locations. Turning on Jitter can help reduce
camera works. A camera has a shutter speed, and
aliasing. Default=off.
if significant movement occurs during the time the
The Jitter control is also on the Sampling Quality shutter is open, the image on film is blurred.
Scanline Renderer
The scanline renderer (page 2–1343) is the default
renderer. By default, you use the scanline renderer
when you render a scene from the Render Scene
dialog (page 2–1316). The Material Editor also
uses the scanline renderer to display materials and
maps.
The image produced by the scanline renderer
displays in the rendered frame window (page
2–1318), a separate window with its own controls.
As the name implies, the scanline renderer
renders the scene as a series of horizontal lines.
Autodesk VIZ additionally provides the interactive Above: Scene motion blur creates an effect of movement.
viewport renderer to provide a quick and simple (The background is blurred because of slow camera
panning.)
rendered view of your scene as you work on it.
You might also have other plug-in or third-party Below: The same scene with no blurring
renderers that you’ve installed to work with Autodesk VIZ provides several ways to generate
Autodesk VIZ. motion blur. Scene motion blur is one. Image
motion blur is another. For most purposes, image
motion blur (page 3–688) give better results
than scene motion blur. Use scene motion blur
whenever you want to strongly emphasize rapid
Schematic View 727
motion. You can use both image and scene motion

blur in the same rendering. Script Editor Window
(Another option, object motion blur (page 3–706), A text editing window provided with the
is not meant to simulate a camera, but to improve MAXScript scripting system. A script editor
the rendered appearance of fast-moving objects.) window can edit any kind of ASCII text file, but
is particularly suited to building and modifying
Scene motion blur creates trails behind all moving MAXScript script files.
objects by rendering the entire scene at multiple
time increments within each frame, and then You open a script editor using the Open Script or
creating the frame by compositing the multiple New Script commands from the MAXScript menu.
images together.
Scripted Utility Panel

Schematic View A scripted utility panel is a custom
Schematic View (page 3–302) is a window that lets command-panel rollout created using the
you see everything in your scene as a node on a MAXScript scripting language. They let you create
graph. The nodes (page 3–704) are repositionable a graphical user interface to a MAXScript script.
to create custom configurations. Scripted utility panels are available through the
Use Schematic View to see and select all nodes Utilities drop-down menu in the MAXScript
that share a relationship, such as a material rollout of the Utilities panel.
or instanced modifier. You can perform basic
operations on the nodes such as rename, cut and
paste modifiers or materials, or create hierarchical Scripting
linkages. You can use Schematic View to see and A scripting language is a programming language
edit other relationships such as wired parameters embedded in a host application, and used
and constraints. to automate tasks within the application.
Autodesk VIZ provides MAXScript as its scripting
language.
Script
MAXScript controls are located on the Utilities
A sequence of instructions used to automate a panel.
task. Scripts are typically text files containing
coded instructions for a particular application.
In Autodesk VIZ, the MAXScript utility supports Seed Value
a scripting language. In NURBS sub-objects, a location in parameter
MAXScript scripts have the file name extension space that is used to resolve ambiguities in some
.ms. By default, they are saved in the scripts folder. kinds of sub-object creation. The seed value is
a location on a parent object, and the location
nearest to the seed value that satisfies the creation
condition is the one that the software chooses.
For a curve, the seed value is a U location in the
curve’s parameter space. For a surface, the seed
728 Glossary
location is a pair of UV coordinates in the surface’s Self-Illumination creates the illusion of

parameter space. incandescence by replacing any shadows on the
surface with the diffuse color. At 100 percent, the
shadows are completely replaced by the diffuse
Segment color, creating the illusion of self-illumination.
Unless you use environmental effects, only lights
illuminate your scene; they don’t appear in the
rendering. You can use self-illuminated materials
on objects that represent lights to provide things
like car headlights, and so on.
A self-illumination map lets you use a map
to affect the intensity in different areas of the
self-illuminated surface. Like many other map
types, only the intensity of the map values affects
self-illumination. White provides the most, while
black blocks the illumination completely.
The arrow and highlight indicate a single segment in a It’s often a good idea to design a self-illumination
spline. map to match your diffuse map. For example, the
The portion of a NURBS point curve between diffuse map might have small, yellow rectangles
two of its control points, or the portion of a spline to represent windows, while the self-illumination
between two vertices. (NURBS CV curves don’t map consists of matching white rectangles against
have segments, as their control vertices don’t lie black to illuminate the yellow windows.
on the curve.) Tip: To have an object behave as an actual light
source (for example, a spline that models a neon
light), use the scanline renderer (page 2–1343),
Self-Illumination photometric lights (page 2–941) with a radiosity
solution (page 2–1350), and assign an Advanced
Lighting Override material (page 2–1188) to make
the object luminous.
Shaders (mental ray Renderer)

In mental ray, a shader is a function that calculates
light effects. There can be shaders for lights,
cameras (lens shaders), materials, shadows, and
so on.
In Autodesk VIZ, the mental ray translator
provides the functionality of light and camera
The lamp on the right uses self-illumination to brighten the
bulb and the glass panes. shaders. Material shaders correspond to
Autodesk VIZ materials.
Shaders (Standard Materials) 729
A number of shaders are provided with

Autodesk VIZ. See mental ray Shaders (page
2–1281), mental ray Connection Rollout (page
2–1090), and Materials for Use with the mental ray
Renderer (page 2–1165).
The mental ray manual, Programming mental ray,
describes how to write custom shaders.
Shaders (Standard Materials)

For a standard material (page 2–1093), the shader
is the algorithm that controls how the material
responds to light. Shaders especially control how
highlights appear. They also provide a material’s
color components, and control its opacity,
self-illumination, and other settings. Shaders are Samples of different shading for a standard material
often named for their inventors; they can also be 1. Anisotropic
named for the effect they provide. See Shading 2. Blinn
Type (page 2–1028). 3. Metal
4. Multi-layer
5. Oren-Nayar-Blinn
6. Phong
7. Strauss
8. Translucent
For each material, one of the available shaders

is always active. You choose the shader on the
material’s Shader Basic Parameters rollout (page
2–1094).
The raytrace material (page 2–1137) uses a subset
of the standard material shaders: Anisotropic,
Blinn, Metal, Oren-Nayar-Blinn, and Phong.
You choose the raytrace material’s shader on the
material’s Raytrace Basic Parameters rollout (page
2–1138).
The other types of materials in Autodesk VIZ
don’t give you a choice of shader.
Materials (and lights and cameras) used with
the mental ray renderer (page 2–1377) can use
mental ray shaders, which are not the same as the
730 Glossary
standard material shaders. See Shaders (mental size requires more memory and can take longer
ray Renderer) (page 3–728). to generate. A 4096-line shadow map occupies 64
MB of memory (4096 x 4096 x 4).
If you have enough RAM to hold the entire scene
Shadow Maps (Light Objects) including shadow maps, shadows don’t affect
performance, but if the renderer has to use a
virtual memory swap file, rendering time can slow
considerably.
The default shadow map size is 256.
The bitmap used by shadow maps must fill the
area covered by the falloff of the spotlight. The
wider the falloff, the coarser the shadow appears.
Keep the falloff as tight as possible given the
requirements of your scene.
Example of shadow-mapped shadows Shadow Map (mental ray

A shadow map is a bitmap that the renderer
Renderer)
generates during a pre-rendering pass of the A shadow map is a bitmap that the mental ray
scene. Shadow maps don’t show the color cast by renderer generates during a pre-rendering pass
transparent or translucent objects. On the other of the scene. Shadow maps can require less
hand, shadow maps can have soft-edged shadows, calculation time than ray-traced shadows, but the
which ray-traced shadows cannot. shadows they generate can be less accurate.
A shadow-map is projected from the direction The mental ray renderer saves shadow maps as
of the spotlight. This method provides a softer ZT files (page 3–749). Shadow map controls are
edge and can require less calculation time than on the Render Scene dialog > Renderer panel >
ray-traced shadows, but it’s less accurate. Shadows & Displacement rollout (page 2–1411).
You can adjust the shadow map settings to achieve
a sharper shadow. This involves changing the
resolution and the pixel sampling of the shadow’s
bitmap. Because shadow-map shadows are only
bitmaps, you need to keep in mind their resolution
in relation to your distance from the shadow, and
the detail required by the shadow. If the resolution
is too low, and the camera too close, the shadow
might look more like sooty smudges.
If shadows appear too coarse when you render
them, increase the map size. The size can range
from 0 to 10,000. However, be aware that greater
Shapes and Splines 731
you use spline-based shapes. You can also use a

Shapes and Splines NURBS curve as the basis for a NURBS model that
includes multiple curve and surface sub-objects.
Get Shape (Lofting)
Spline
A shape is an object made up of one or more

splines. A spline is a collection of vertices and
A circle is lofted along a path to construct a tubular shape.
connecting segments that form a line or curve. Get Shape chooses the contour spline.
By adjusting values in the vertices, you can make
portions of the line curved or straight. You use Get Shape as a loft creation method when
you want the shape to move to the location of the
Shapes don’t usually appear in the rendered scene. selected path. For example, you use this method if
They’re used for the following purposes: you have created a path at the exact location where
• As the foundation for extruded objects, by you want your loft object to be. You use Get Shape
applying an Extrude modifier to the shape. to create a loft at that location.
• As the foundation for a spun object, by applying Get Shape causes the shape to move and rotate to
a Lathe modifier to a shape. align itself with the current level of the path. The
• As the components that make up a Loft object, exact orientation of the shape is controlled by two
by combining a shape as a path, and one or other loft settings named Contour and Banking.
more shapes as cross-sections along the path. The following describes the orientation of the first
• As an animation path for an object by assigning shape at level 0:
a path constraint to the object, and then picking • The pivot point of the shape is located on the
a shape as the path. path at the current path level.
• As one method of linkage for inverse kinematic • The positive Z axis of the shape is aligned with
chains. the tangent to the path at the current path level.
You can make shapes renderable to create tubular • The local Y axis of the shape is aligned with the
forms in the rendering. Renderable shapes don’t local Z axis of the path.
appear any different in viewports.
Sometimes, aligning the positive Z axis of the
Shapes can also be NURBS curves (page 2–443). shape with tangent of the path does not produce
You can use NURBS curves in exactly the way the result you want. You can flip the orientation
732 Glossary
of the shape by pressing CTRL while getting the

shape. Pressing CTRL aligns the shape so that the Smoothing Groups
negative Z axis of the shape is aligned with the
tangent to the path.
SHP Files
SHP is the 3D Studio R4 (DOS) shape-file format.
You can import these files into Autodesk VIZ.
The .shp file contains polygons created in the 2D
Shaper in 3D Studio.
When importing an SHP file that contains multiple
shapes, the software gives you the option to either
merge them all into one object or make multiple Left: The bottle has no smoothing.
incoming objects. Middle: Smoothing is assigned only to the highlighted
group of faces.
The shape importer looks at the vectors on Right: The bottle is smoothed using three different
incoming splines, and if they’re collinear within a smoothing groups: on the body, the neck, and the top edge.
couple of percentage points, it changes the angle to
a smoothed Bezier (otherwise, it’s a Bezier corner). Smoothing groups define whether a surface is
rendered with sharp edges or smooth surfaces.
Smoothing groups are numbers assigned to the
Skylight faces or patches of an object. Each face or patch
In the real world, daylight does not just come from can carry any number of smoothing groups up to
direct sunlight; it also comes from skylight that is the maximum of 32. If two faces or patches share
scattered through the atmosphere. Autodesk VIZ an edge and share the same smoothing group, they
offers great realism and accuracy by calculating will render as a smooth surface. If they don’t share
not only sunlight, but calculating this scattered the same smoothing group, the edge between them
light as well. will render as a corner.
In Autodesk VIZ, the sky is modeled as a dome of You can manually change or animate the threshold
infinite radius placed around the scene. Daylight values for smoothing group assignments using
computes the illumination of a point in the scene such tools as Editable Poly (Polygon/Element)
with reference to all directions around the point (page 2–418) and the Edit Mesh modifier (page
where the sky is visible. The sky brightness is not 2–74).
constant over the sky dome, but rather it changes
depending upon the position of the sun.
SMPTE
See also SMPTE (Society of Motion Picture and Television
Sunlight (page 3–736) Engineers) is the standard time display format for
most professional animation work.
Sunlight and Daylight Systems (page 1–335)
Specular Color 733
From left to right, the SMPTE format displays

minutes, seconds, and frames, delineated by
colons. For example:2:16:14
represents 2 minutes, 16 seconds, and 14 frames.
As you move through time in a SMPTE display,
when the seconds field increments, the frames field
recycles to 0 and starts over. For example, given an
NTSC frame rate of 30 frames per second, as you
move through time, the frames field counts from 0
to 29, at which point the seconds field increments
by 1, and the frames field begins again at 0.
Matching specular color to the diffuse color makes the
As with the Frames display format, the SMPTE surface less shiny.
format lets the time slider move at single-frame
increments.
Spline
Specular Color
Changing specular color tints highlights on the shiny

surface of the spacecraft.
Specular color is the color of highlights on a shiny

surface. The highlights are reflections of the lights
that illuminate the surface. For a naturalistic Top: Spline
effect, set the specular color to the same color Middle: A segment of the spline
as the key light source, or make it a high-value, Bottom: Vertices of the spline
low-saturation version of the diffuse color.
A type of curve that is interpolated between two
In Autodesk VIZ, you can set the specular color to endpoints and two or more tangent vectors. The
match the diffuse color. This gives a matte effect, term dates from 1756, and derives from a thin
making the material appear less shiny. wood or metal strip used for drafting curves in
architecture and ship design.
734 Glossary
page of the Preferences dialog, as described in

Startup Script MAXScript Preferences (page 3–556).
When Autodesk VIZ first starts, MAXScript MAXScript first searches for a file named
searches for any startup script files, which it then startup.ms in the following directories, in this
automatically loads and runs. This feature is useful order:
if you have function libraries you always use and
1. The Scripts directory (defined on the Configure
want preloaded, or if you want to establish custom
User Paths dialog > File I/O panel)
UI settings, define scripted plug-ins, or load
scripted utility rollouts. 2. The Startup Scripts directory (defined on the
Configure System Paths dialog)
MAXScript first searches for .mcr (macroScript
definition files) in the ui\macroscripts directory. 3. The Autodesk VIZ executable main directory
These macroScript definitions are not compiled at 4. The Windows NT 32-bit system directory
this time; rather they are just scanned to identify (system32)
the macroScripts that have been defined. 5. The Windows 16-bit system directory (system)
MAXScript next searches for .ms, .mse, and .mzp 6. The Windows directory
files in the plug-in path directories (defined on
7. The directories that are listed in the PATH
the Configure System Paths dialog (page 3–531)
environment variable
and Configure User Paths dialog (page 3–529))
and their subdirectories, and compiles these files. MAXScript stops searching when it finds the first
The base scene and user interface have not been occurrence of startup.ms.
created at this point, so no viewport or scene
MAXScript then recursively scans the Startup
commands should be executed in these files. These
Scripts directory (defined on the Configure
files should primarily define scripted plug-ins and
System Paths dialog) and any nested directories
utility functions.
for .ms, .mse, and .mzp script files and loads
Any utility functions used by the macroScripts them. In this pass, any script files with the name
defined when reading the ui\macroscripts startup.ms are ignored. You can prevent a nested
directory should be defined in a .ms or .mse file in directory from being scanned by placing its name
one of these directories. You can prevent a nested in parentheses, for example "(old-versions)",
directory from being scanned by placing its name allowing you to enable and disable scripts in handy
in parentheses, for example "(old-versions)", directory-based groupings.
allowing you to enable and disable scripts in handy
If you specify a script to run in the command
directory-based groupings.
line (-U MAXScript script_name), the script
At this point, Autodesk VIZ creates the base scene is executed at this point. (See the MAXScript
and user interface. Any macro scripts used by Reference topic “Running Scripts from the
buttons in the user interface are compiled at this Command Line”).
time.
The automatic loading of the following startup
script files can be deactivated by turning off the
Auto Start MAXScript option in the MAXScript
Sub-Object 735
Sub-Object Sub-Object Level
Edge sub-objects level chosen while editing a mesh.

Left: A selection of face sub-objects
Middle: A selection of edge sub-objects Some types of objects let you change to a
Right: A selection of vertex sub-objects sub-object level to edit their component parts.
For example, editable meshes (page 2–350)
A sub-object s a subset of an object’s geometry.
have Vertex, Edge, Face, Polygon, and Element
Many objects have various types of sub-objects
sub-object levels. NURBS models (page 2–443)
that you can work with independently. For
can have Surface, Curve, Point, Surface CV, Curve
example, an editable mesh object’s (page 2–350)
CV, and Import sub-object levels.
sub-objects are vertices, edges, faces, polygons,
and elements. To access sub-objects, go to the You change the active sub-object level using the
Modifier panel. In the modifier stack display, Modifier Stack display (page 3–481) on the Modify
click the plus-sign button to display an object’s panel.
hierarchy, and then choose the sub-objects level
from the hierarchy. At the sub-objects level you
can select sub-objects, transform the selections, Subtractive Opacity
apply modifiers, and so on.
Many topics in the online reference deal with
sub-objects. To see a list of sub-object-related
topics, search on the term “sub-object” (include
the quote marks in the keyword).
Sphere on the right uses subtractive opacity.

736 Glossary
Subtractive opacity darkens colors behind the of the rendered scene. For example, if you’re
material by subtracting the material’s colors from rendering a heavily shadowed object against a
the background colors. black background, although the background will
be rendered as pure black, the deepest shadows on
If you simply want to reduce the apparent opacity
the object will be no darker than the intensity level
of a material, while maintaining the color values of
specified by the Threshold spinner (default is 15).
its diffuse (or mapped) properties, use subtractive
opacity. Note: If the threshold spinner is set too high, it will
artificially raise low-blended values. This can ruin
See also antialiasing effects in the renderer.
Additive Opacity (page 3–652)
Supersampling
Sunlight Supersampling is one of several antialiasing
techniques that the software performs. Textures,
The Sun is modeled as a parallel light source,
shadows, highlights, and raytraced reflections
which makes the incident direction of sunlight
and refractions all have their own preliminary
constant over all surfaces in the scene. You can
antialiasing strategies. Supersampling is an
specify the direction and intensity of the sun
optional additional step that provides a "best
directly. Alternatively, the direction and intensity
guess" color for each rendered pixel. The
of the sun can be calculated based on geographical
supersampler’s output is then passed on to the
location, time, and sky condition settings.
renderer, which performs a final antialiasing pass.
See also
See also
Skylight (page 3–732)
SuperSampling Rollout (page 2–1088)
Sunlight and Daylight Systems (page 1–335)
Tangents
Super Black The tangent of a function curve affects the
Super Black limits the darkness of rendered interpolated values between the keys of an
geometry. This option is used for video animation. Most animation controllers use fixed
compositing. When compositing, you need pure tangents to define the function curve at a key
black for the background, but overlaying objects location.
need to be less than pure black so that you can
By default, Autodesk VIZ assigns smooth tangents
still see exactly where they are. Also, some video
to the keys in a Position function curve. This is the
systems have problems with black that has RGB
reason that an animated object moves in smooth
values of 0,0,0, and consider it an "illegal" color.
curves through the key frames. Autodesk VIZ
Unless you’re sure you need it, leave Super Black assigns smooth tangents because they usually
tuned off in the Render Scene dialog. provide the most natural motion.
The scanline renderer uses the value of the Super Of course, you also need a way to add some corners
Black preference as a threshold for the darkness and abrupt turns when you need them. The Linear
TCB (Tension, Continuity, Bias) 737
controller (page 2–715) uses a discontinuous The default value of 25 produces an even amount
tangent that points at the preceding and following of curvature through the key.
keys, producing an abrupt change in motion at
Continuity—Controls the tangential property of
that key.
the curve at the key. The default setting is the
The two large flyout buttons at the bottom of the only value that produces a smooth animation
Key Info dialog provide five different types of curve through the key. All other values produce a
predefined tangent types (page 2–695), plus a sixth discontinuity in the animation curve causing an
type that lets you create your own custom tangents. abrupt change in the animation.
If you look at a single key dot and the line running High Continuity values create curved overshoot
through it, the line on the left side of the key dot on both sides of the key. Low Continuity values
is the incoming tangent, and the line on the right create a linear animation curve.
is the outgoing tangent. Using the tangent flyout
Low continuity creates a linear curve similar to
buttons, you can assign a different tangent type
high tension except without the Ease To and Ease
to the incoming and the outgoing lines for each
From side effect.
key dot.
The default value of 25 creates a smooth
The button on the left assigns the incoming
continuous curve at the key.
tangent at the left side of the selected key dot,
and the button on the right assigns the outgoing Bias—Controls where the animation curve occurs
tangent on the right side of the selected key dot. with respect to the key.
High Bias pushes the curve beyond the key. This
produces a linear curve coming into the key and
TCB ( Tension, Continuity, Bias) an exaggerated curve leaving the key.
The TCB Position controller provides Tension,
Low Bias pulls the curve before the key. This
Continuity, and Bias controls of the splines of a
produces an exaggerated curve coming into the
function curve.
key and a linear curve leaving the key.
TCB Controllers (page 2–728) also produce
The default value of 25 distributes the curve evenly
curve-based animation much like the Bezier
to both sides of the key.
controllers (page 2–699). However, TCB
controllers do not use tangent types or adjustable
tangent handles. They use numeric values to adjust
the Tension, Continuity, and Bias of the animation.
Tension—Controls the amount of curvature in the
animation curve.
High Tension produces a linear curve. It also has a
slight Ease To and Ease From effect.
Low Tension produces a very wide, rounded curve.
It also has a slight negative Ease To and Ease From
effect.
738 Glossary
Terrain Texel
A texel (short for Texture Element) is the base unit
of a textured graphic, which defines the surface of
a three-dimensional object. The base unit of the
surface of a 3D object would be a texel, while a 2D
object would consist of pixels (page 3–715).
Ticks
Ticks are the way Autodesk VIZ views increments
of time. There are 4800 ticks in a second, so you
can actually access time down to 1/4800th of a
second.
Given a standard, NTSC video frame rate, there
are 30 frames in a second, and therefore 160 ticks
in each frame.
Using contours to build a terrain
When you use the FRAME:TICKS display format,
Creates terrain objects (page 1–306) from contour time is shown in frames and ticks, delineated by a
line data. You select editable splines representing colon. This format lets you adjust the time slider
elevation contours and Autodesk VIZ creates a in sub-frame increments of 1/160th of a frame. As
mesh surface over the contours. You can also you move through time, the ticks field counts from
create a "terraced" representation of the terrain 0 to 159, at which point the frames field increments
object so that each level of contour data is a step, by one, and the ticks field returns to 0.
resembling traditional study models of land forms.
You can step forward or backward at single
When you import an AutoCAD drawing file to increments by clicking the single-frame buttons
use as contour data, Autodesk VIZ names each among the playback buttons.
object based on the AutoCAD object’s layer, color,
When you use the MM:SS:TICKS Display format,
or object type. Autodesk VIZ appends a number
you see minutes (MM), seconds (SS), and ticks,
after each name. For example, an AutoCAD object
each separated by colons.
on the layer BASE becomes BASE.01.
As you move through time in this display format,
After importing the contour data, selecting
the ticks field counts from 0 to 4799, at which
the objects and clicking the Terrain button,
point the seconds field increments and the ticks
Autodesk VIZ moves all the selected objects out of
field returns to 0.
the scene and into the terrain object. Other splines
in the selection are treated in the same way as by You can step forward or backward at single
the Move copy method. You can only use these increments by clicking the single-frame buttons
splines as operands of the terrain object. This is on either side of the playback button.
appropriate if you create splines in order to create
a terrain object and have no further use for them.
Tile/Mirror 739
Tile/Mirror Topology
When objects and shapes are created, each vertex
and/or face is assigned a number. These numbers
are used internally to determine which vertices or
faces are selected at any given time. This numerical
arrangement is called topology.
When you select vertices or faces and apply a
modifier to the selection, the modifier stack keeps
track of which faces/vertices the modifier affects.
If you later return to the selection level of the stack
and change the selection, you change the topology
to which the modifier is applied.
A map tiled and mirrored. The term topology refers to the structure of faces
and vertices as well as their numbers.
Tiling and mirroring are useful for creating
patterns based on a simple image. Use them when
you need wallpaper and other repetitive designs.
Topology-Dependent Modifier
The Tile option in the Material Editor is on by
Topology-dependent modifiers perform
default, repeating the image along the U and V
operations on explicit, topological sub-object
directions. You can use the Tiling values to scale
selections. The Edit Mesh and Mesh Select
the map image. Setting negative Tiling values
modifiers are examples of modifiers that perform
increases the size of the image.
operations or selections on explicit vertex or face
You can also set tiling values in the UVW Map numbers. When these modifiers are present in
modifier. These settings are in addition to the the stack, you can adversely affect their results if
tiling values you set for the map in the Material you visit previous stack operations and change
Editor. If the map’s base tiling parameter has a the topology (the number and order of faces and
value of 2.0 and the UVW Map modifier has a vertices) being passed to them. When you do this,
tiling value of 3.0 for the same axis, the net result a topology-dependence warning alerts you to the
is 2.0 x 3.0 = 6.0. To avoid confusion about where situation.
the tiling is coming from, you may want to set
the map’s tiling in its base parameters or with the
UVW Map modifier, but not in both locations. Track View
The Mirror option is a variation on the Tile option. Track View provides a visual representation
Tile repeats the image side-by-side, while Mirror of animation keys, allowing you to view, edit,
flips the image repeatedly. copy and adjust one or several keys at a time.
This is where you control the timing of your
animation, through the manipulation of keys,
curves and ranges. You can also assign animation
controllers to interpolate or control all the keys
and parameters for the objects in your scene.
740 Glossary
Track View has two windows, a Controller window includes values used by parametric maps and
and a Key window. The Controller window shows other map definition that are part of a map tree.
the hierarchy of linked objects, as well as the
modifier stack and transform tracks. The Key Object—Indicates objects in the scene.
window displays keys, curves and ranges. Keys are Branches below the square icon contain linked
color coded to show what is animated. descendents of the object. Branches below the
circle icon beside a yellow cube contain transforms
Track View uses two different modes. Curve Editor and modifications applied to the object.
mode (page 2–826) displays key interpolation as
curves, and allows you to edit the curves. Dope Modifier—Indicate modified objects.
Sheet mode (page 2–826) displays the animation Branches below a modifier contain the modifier’s
as a spreadsheet of keys and ranges. Dope Sheet sub-objects and parameters.
has two modes, Edit Key and Edit Ranges.
Controller—Indicate animation controllers.
Controllers are the animation workhorses of Track
Track View Hierarchy Icons View. They contain the animated values for all
parameters and are the only item in the Hierarchy
The Track View hierarchy, as displayed in the list that can have a track containing keys. Every
Controller window, follows the traditional controller has its own individual icon. Some
example of organizational headings in an outline. examples:
The highest levels of the hierarchy represent
the main groupings in Autodesk VIZ of Sound, • Position controller
Environment, Materials, Render Effects, and • Rotation controller
Objects. Lower levels of the hierarchy progress
• Scale controller
through the details of your scene, such as
individual materials, material maps, and map Certain types of controllers can contain other
parameters. controllers. Examples of these are Transform
Controllers and List Controllers.
Each type of item in the Track View Hierarchy List
is represented by an icon. You can use these icons
to quickly identify what each item represents.
Tracks
Sound—Indicate sound parameters.
Every item in the Track View hierarchy has a track
Autodesk VIZ provides only one sound source in
that displays what happens to the item over time.
Track View.
Material—Indicates material definitions. All
branches below a material definition are part of
that material. Because a material can be composed
of multiple materials it is possible to have nested track displayed in track bar below time slider
material definitions in Track View. Icons also There are two types of tracks:
appear in an object’s modifier branch when a
material is assigned to an object. • Range tracks indicate when items below the
track are animated. A range bar in the track
Map—Indicates map definitions. All branches displays the range of time over which the
below a map definition are part of that map. This animation occurs.
Trajectory 741
• Animation tracks contain the actual animated • Position keys are displayed as white boxes
values for an item. Only controller items have surrounding the appropriate frame dot on the
an animation track. curve.
The values in an animation track are usually • Selected keys are displayed in gray.
displayed as keys. Some controllers don’t use In Autodesk VIZ trajectories are created from
keys and instead display their values as a range animated objects. You must animate the object
bar or some other graphic symbol. For example, first in order to create the trajectory.
the Wave Form item displays a sound file as a
two-channel sound wave. The Path constraint (page 2–745) lets you picks a
spline in the scene to use as a motion path for an
Animation tracks are also the only track type that object. The spline becomes the object’s explicit
can be displayed as a function curve. trajectory.
Trajectory Transform Gizmo

A gizmo (page 3–683) that is displayed in
viewports and provides a visual aid when you
transform objects.
Scooter following a trajectory
Whenever an object moves through world space,

you can view its trajectory. A trajectory is the
visible path the object makes because of its
movement. You can think of a trajectory as a
three-dimensional function curve for the Position
track of an object.
Object trajectories appear with the following Move gizmo
properties:
• The trajectory curve is drawn in blue.
• Frame increments are displayed as yellow dots
on the curve.
742 Glossary
Transforms
Moving, rotating, and scaling a figure
When you create any object, Autodesk VIZ records

its position, rotation, and scale information
in an internal table called a transformation
matrix. Subsequent position, rotation, and scale
adjustments are called transforms.
Rotate gizmo An object’s actual position within the world
coordinate system is always calculated in relation
to its internal, or local coordinate system, which is
based on the object’s transformation matrix. The
origin of the local coordinate system is the center
of the object’s bounding box (page 3–663).
An object can carry any number of modifiers, but
only one set of transforms. Although you can
change transform values from frame to frame,
each object always has only one position, one
rotation, and one scale transform.
You can animate your transforms by turning on
the Auto Key button and then performing the
transform at any frame other than frame 0. This
creates a key for that transform at the current
Scale gizmo
frame.
Translucency 743
with a double backslash and do not include a drive

Translucency letter. This is the convention:
\\machine_name\directory\subdirectory\
filename
To simplify network rendering, use UNC names
whenever possible within a Autodesk VIZ scene,
even if the directory is on the local machine.
Tip: When entering UNC names, leave off the \\
before the file name until you’ve entered the entire
path and file name. This eliminates search delays
when entering UNC path names into file selection
dialogs.
Some networks require drive letters instead of
Glass on the right has a light green translucency.
UNC names. Directories on such networks can
A translucent material transmits light, but unlike be mounted as drive letters and shared over
a transparent material, it also scatters the light so the network. See Mounting a Directory (page
those objects behind the material cannot be seen 2–1479).
clearly.
Raytrace materials (page 2–1137) can simulate UVW Coordinates
translucency. A Raytrace material’s Translucency
color component ignores surface normal
directions, giving the effect of light scattering.
You can also obtain translucency effects using the
Standard material’s (page 2–1093) Translucent
shader (page 2–1109).
Truecolor
Describes hardware and software that can support
up to 16 million color values. Also known as
24-bit color, or 32-bit color when saved with alpha
channel data (page 3–654). Local UV coordinates shown on a surface
Most material maps are a 2D plane assigned to a

3D surface. Consequently, the coordinate system
Universal Naming Convention used to describe the placement and transformation
(UNC) of maps is different from the X, Y, and Z axis
The Autodesk VIZ network rendering system coordinates used in 3D space. Specifically,
uses the Universal Naming Convention (UNC) to mapping coordinates use the letters U, V, and
identify directories and files. UNC names begin
744 Glossary
W; the three letters preceding X, Y, and Z in the be selected and transformed without selecting a
alphabet. vertex first. A transform cursor appears when you
move onto a vector.
The U, V, and W coordinates parallel the relative
directions of X, Y, and Z coordinates. If you look Each vertex in a shape can be one of four types:
at a 2D map image, U is the equivalent of X, and
Smooth—Forces the segments into a smooth curve
represents the horizontal direction of the map. V
tangent to the vertex.
is the equivalent of Y, and represents the vertical
direction of the map. W is the equivalent of Z and Corner—Allows the segments on either side of the
represents a direction perpendicular to the UV vertex to be at any angle.
plane of the map.
Bezier—Provide handles, but forces the segments
You might question why you need a depth into a tangent through the vertex.
coordinate like W for a 2D plane. One reason is
Bezier Corner—Provides handles, and allows the
because it’s sometimes useful to be able to flip the
segments on either side of the vertex to be any
orientation of a map, relative to its geometry. To
angle.
do this, you need the third coordinate. The W
coordinate also has a meaning for 3-dimensional
procedural materials.
Safe Frame
Vectors and Vector Handles
Safe frame borders show which portions of a viewport will

be visible when rendered to video.
The Safe Frame provides a guide to help avoid

Kinds of vector handles: rendering portions of your image that might be
1. Corner blocked in the final output.
2. Smooth
3. Bezier For example, to ensure that no unintentional
4. Bezier corner
black areas are visible on a television screen,
broadcasters intentionally "overscan" the video
Vectors are secondary control points connected to image. The result is that portions of an image
vertices on a spline or patch object. They are also around the edges are not visible on a typical set. In
referred to as handles or vector handles. addition, portions of images on 35mm slides can
Vector handles are visible as small green squares be partially covered by the slide mounts.
when you select a vertex. However, if the Vectors
filter is checked (for a patch object), handles can
Viewport (Interactive) Renderer 745
You can adjust the size of the safe frame as Material Editor, and then turn on its display.
a percentage of the outer display rectangle (If you later go to a different map in the same
with the Safe-Frame controls in the Viewport material, and turn its display on, the other map is
Configuration dialog. Depending upon its size, automatically turned off.)
the safe frame can be used as the equivalent of a
"title safe frame" (the area inside which it is safe to
display titles), or an "action safe frame" (the area VIZBlock
inside which action may occur without significant
A VIZBlock is a compound object similar to a
loss of information).
nested AutoCAD block. It is used for organizing
To view the frames, choose Show Safe Frame from linked data from DWG files. When AutoCAD data
the viewport right-click menu (displayed when is linked to Autodesk VIZ, you need to decide
you right-click the viewport label). The safe frame how the AutoCAD entities are to be organized
displays as a yellow rectangle within the camera in the scene. AutoCAD drawings are commonly
or perspective viewport that matches the output organized by layers, blocks, and entities, and
size of your rendering. This is defined within the Autodesk VIZ scenes are organized by hierarchies
Render scene dialog. of objects.
Choose Show Safe Frame again to turn off the
display.
VUE File
A VUE (.vue) file is an editable ASCII file. You
Viewport (Interactive) Renderer create a VUE file using the VUE file renderer
instead of the default scanline renderer.
The interactive renderer, used for the viewports,
is designed for speed so you can easily manipulate A VUE file contains a sequence of frames to
your objects in a shaded environment. It’s not the render. Each frame is described by a sequence of
same as the production renderer, which is used for commands, beginning with a "frame" command,
your final images. Therefore, a number of effects which specifies the frame number, and ending with
that are available to the production renderer will a viewport command, which specifies the view
not show up in the viewports. to render (such as "top" or "camera"). Between
these two commands, there can be any number of
When you design your materials, for example, you
"transform", "light", and "spotlight" commands.
have three levels of visual feedback. The lowest
level is the shaded viewport. The next level is the Note: VUE files created with 3DS DOS could
sample slot, which uses the production renderer also contain "morph" commands. This is
to display the sample sphere. The highest level is not supported in Autodesk VIZ because the
the rendered scene, which uses the production Autodesk VIZ exporter doesn’t export morph
renderer to display the scene. targets.
A single material can contain any number of maps. The VUE file commands are as follows:
Because viewing mapped materials slows the frame <n>

viewport display, it’s up to you to decide which transform <object name> <transform matrix>
map (if any) you want to display. To display a
specific map, you go to that map’s level in the light <light name> <x> <y> <z> <r> <g> <b>
746 Glossary
spotlight <light name> <x> <y> <z> <tox> The first nine values, T1–T9, describe rotation and
<toy> <toz> <r> <g> <b> <hot angle> <falloff scaling. The last three, T10–T12, describe a move,
angle> <shadow flag> in world coordinates.
top <x> <y> <z> <width> The VUE file renderer transforms the points of the
object by post-multiplication:| X’ Y’ Z’ 1| = | X Y
bottom <x> <y> <z> <width>
Z1|*M
left <x> <y> <z> <width>
Omni Light Command
right <x> <y> <z> <width>
Controls the location and color of an Omni light.
front <x> <y> <z> <width>
The first parameter is the name of the light.
back <x> <y> <z> <width>
This is the name as it appears when you use
user <x> <y> <z> <horiz> <vert> <roll> Autodesk VIZ, but enclosed in double quotes.
<width>
The next three parameters, <x>, <y>, <z>, are
camera <x> <y> <z> <tox> <toy> <toz> <roll> the light’s location.
<focal>
The next three parameters, <r>, <g>, <b>, are the
light’s color. The color values are normalized to
Frame Command
range between 0.0 and 1.0.
Begins each frame description. Has a single
The last parameter, <shadow flag>, parameter is 1
parameter: the frame number.
if the light casts shadows, 0 otherwise.
Transform Command
Spotlight Command
Transforms the specified object.
Controls the location, color, and other
The first parameter is the name of the object. characteristics of a target spotlight.
The first parameter is the name of the light.
Autodesk VIZ, but enclosed in double quotes.
The second parameter is a transform matrix. This Autodesk VIZ, but enclosed in double quotes.
consists of 12 real numbers:
The next three parameters, <x>, <y>, <z>, are
T1 T2 T3 T4 T5 T6 T7 T8 T9 T10 T11 T12 the light’s location.
The VUE file treats these as if they were arranged The next three parameters, <tox>, <toy>, <toz>,
in a 4 x 4 matrix (M): are the location of the light’s target.
T1 T2 T3 0 The next three parameters, <r>, <g>, <b>, are the
light’s color. The color values are normalized to
T4 T5 T6 0
range between 0.0 and 1.0.
T7 T8 T9 0
The <hot angle> parameter is the angle of the
T10 T11 T12 1 light’s hot spot, in degrees.
The <falloff angle> parameter is the falloff angle,
in degrees
Walkthrough Assistant 747
The <shadow flag> parameter is 1 if the light casts

shadows, 0 otherwise. Walkthrough Assistant
Walkthrough Assistant lets you easily create a
Orthogonal Viewport Commands predefined walkthrough animation of your scene
These commands render a particular view—top, by placing a camera on a path and setting the
bottom, left, right, front, or back. height, turning the camera, and viewing a preview.
This feature is available on the Animation Menu.
The <x>, <y>, <z> parameters are the coordinates
of the center of the view. In a scene, create a path for the camera to follow
using a spline or NURBS curve. Then choose
The <width> parameter is the width of the
Walkthrough Assistant from the Animation menu.
rendered image, in world units.
With Walkthrough Assistant you can automatically
create a camera and animate it along the path.
User Viewport Command
Change a Perspective viewport into the Camera
Renders the user view. viewport to view the result. You can adjust the
eye height and head tilt. You can animate turning
The <x>, <y>, <z> parameters are the coordinates
the camera by turning on the Auto Key button.
of the center of the view.
For more information see Walkthrough Assistant
The <horiz> parameter is the horizontal angle, (page 2–1020).
in degrees.
The <vert> parameter is the vertical angle, in
degrees.
Wireframe Mode
The <roll> parameter is a placeholder for the roll
angle—but this is an "empty," unused parameter
that must always be zero. To use roll in a VUE file,
use a camera view instead of a user view.
The <width> parameter is the width of the
rendered image, in world units.
Camera View Command

Renders a camera view.
The <x>, <y>, <z> parameters are the camera’s
location. Wireframe mode display of a director’s chair and
megaphone
The <tox>, <toy>, <toz> parameters are the
location of the camera’s target. Wireframe is a viewport setting that lets you
view objects in a given viewport as a wire mesh.
The <roll> parameter is the camera roll angle, in
This is the default setting for non-Perspective
degrees.
viewports. You change this setting from the
The <focal> parameter is the camera’s focal viewport right-click menu (page 3–453).
length, in millimeters.
748 Glossary
In addition, you can set the Standard and Raytrace In the world coordinate system seen from the
materials to render as wires. Use the Extended front, the X axis runs in a positive direction to
Parameters rollout to set the size of the wire, and the right, the Z axis runs in a positive direction
specify its measurement in either pixels or units. upward, and the Y axis runs in a positive direction
away from you.
When you use pixels, the thickness of the wire is
based on the screen pixels. Therefore, it’s absolute,
and remains the same, regardless of its distance
from the camera. If you use units, the thickness is
World Space
based on world units, and varies depending on the
distance from the camera. It’s easier to compare
the effect of pixels and units if you first adjust the
camera view to give a greater sense of distance.
You can most easily do this with the Perspective
viewport navigation tool, which dollies the camera
in one direction while changing the field of view
in the other.
World Coordinate System

A book in object space rests on a table in world space.
World space is the universal coordinate system

used to track objects in the scene. When you
look at the home grid in the viewports, you
see the world-space coordinate system. World
space is constant and immovable. By convention,
world-space coordinates are always expressed
as XYZ coordinates, as opposed to the UVW
coordinates of object space (page 3–707).
All objects in your scene are located in world
space by their position, rotation, and scale (their
A book in object space rests on a table in world space. The
table uses the world coordinate system.
transforms).
The coordinate system for world space or the Some modifiers (page 3–701) operate in world
model space as a whole. space. See World-Space Modifiers (WSMs) (page
2–41).
World space is the universal coordinate system
for all objects in the scene. When you look at the
home grid in the viewports, you see the World World-Space Modifiers (WSM)
Space coordinate system. World space is constant
and immovable. World space is the universal coordinate system
that applies to the entire scene. A world-space
xref (AutoCAD External Reference) 749
modifier, as opposed to an object-space modifier animators and modelers to work on one scene
(page 3–707), affects an object but uses world at the same time without interfering with each
coordinates. other’s work.
A world-space modifier always appears at the top There are two ways to XRef another scene:
of the modifier stack (page 2–30). Its effect is • XRef Scene (page 3–292)
independent of its order in the stack.
The File > XRef Scene command XRefs an
See also entire scene. For example, a classic use of this
command is to bring in a scene that appears as
World-Space Modifiers (WSMs) (page 2–41) a “set” for an animation you create.
• XRef Objects (page 3–281)
xref (AutoCAD External Reference) The File > XRef Objects command XRefs
individual objects or materials. For example,
An AutoCAD external reference. An xref is a
you might be working on the model of a
variation on a block. A block is a collection of
building, and fill it with furniture created by
geometry that is identified by a unique name,
other artists.
is stored in the AutoCAD symbol table, and
essentially behaves as if it is a single object. Xrefs You can also XRef the manipulators and
share block characteristics, and they are similarly modifiers associated with the objects you XRef.
defined in the symbol table. However, unlike
blocks, the geometry associated with an xref
definition is not stored in the current AutoCAD ZT File
drawing; it is stored in another AutoCAD drawing A ZT (.zt) file is a mental ray shadow map file
file. Like a block, there can be many instances (page 3–730). This is a binary file that the mental
of an xref in a AutoCAD drawing, but only one ray renderer uses to accelerate the generation of
definition. shadows. You specify a name and location for the
Typically, xrefs are used to display the geometry of .zt file on the Render Scene dialog > Renderer
a common base drawing in the current AutoCAD panel > Shadows & Displacement rollout (page
drawing without expanding its size. This allows 2–1411).
changes to the reference drawing to be reflected in
any host AutoCAD drawings that refer to it.
See also
XRef (Autodesk VIZ Externally Referenced File)
(page 3–749)
XRef (Autodesk VIZ Externally

Referenced File)
An XRef in Autodesk VIZ is an externally
referenced file or object. XRefs allow multiple
750 Glossary
index
Index
Symbols & Numerics absolute snap 2–651, 2–654

1-rail sweep surface 2–566 absolute/offset coordinate display 3–437
2.5D snap 2–651 acceleration (raytrace) 2–1154
2-point perspective 2–1019 acceleration techniques (raytracer) 2–1151
2-rail sweep surface 2–571 AccuRender materials
2-sided 3–587, 3–649 in Autodesk VIZ 3–354
2D activate Autodesk VIZ 3–628
2D coordinates rollout 2–1199 activate all maps 1–48
2D images 3–251 activating
2D maps 2–1199 grid object 2–650
2D snap 2–651 home grid 2–650
2D map joint axes 2–802
glossary 3–649 maps 1–48
32–bit floating-point output 3–256 active link (glossary) 3–651
3D active time segment 2–679
3D coordinates rollout 2–1237 active time segment (glossary) 3–651
3D maps 2–1236 active viewport 1–20
3D snap 2–651 adaptive antialiaser dialogs 2–1155 to 2–1156
viewing and navigating 3D space 1–19 adaptive control 1–138, 2–199, 2–1156, 2–1270
3D displacement shader (mental ray) 2–1286 adaptive degradation
3D DWF glossary 3–652
exporting 3–139 override 1–32
glossary 3–649 viewport configuration dialog 3–591
3D map adaptive subdivision dialog 2–141
glossary 3–650 add
3DS files atmosphere 2–980, 3–84
3DS import dialog 3–141 default lights to scene 1–46 to 1–47
exporting 3–143 effect 2–980
importing 3–141 note track (Track View) 2–863
3ds Max time tag dialog 3–439
files 3–136 visibility track 2–866
materials 2–1382 add keys
3dsviz.ini file 1–16 to 1–17 function curves 2–889
Track View toolbar 2–869
A add selection to current layer 3–374
about 3–628 add texture elements dialog 2–1450
about MAXScript 1–xiv add/edit DBR host dialog 2–1424
752 Index
adding editable mesh vertices 2–357

editable spline vertices 1–268 flyout 1–388
splines 1–275, 1–280 grid to view 2–650
additional help 3–628 keys (Track View) 2–866
additive opacity (glossary) 3–652 normals 1–392, 2–626
adjust animation range (track bar) 3–432 objects 2–624
adjust color dialog to view (dialog) 1–396
vertexpaint modifier 2–298 to view (toolbar) 1–395
adjust pivot rollout 2–805 allow non-vertical jambs 1–180
adjust transform rollout 2–807 alpha channel 3–53, 3–654
adjusting alpha map (baking) 2–1441
normals and smoothing 1–136 altitude (sunlight and daylight systems) 1–337
object transforms 2–777 ambient
pivots 2–769 and diffuse map lock 2–1100
Adobe Illustrator files and raytrace materials 2–1138
exporting 3–145 color (glossary) 3–654
importing AI 88 format 3–145 light 2–916, 2–918 to 2–919, 3–655
advanced effects rollout 2–970 lighting (rendered environment) 3–53
advanced file link settings 3–330 mapping 2–1122
advanced key info 2–696 ambient occlusion map 2–1442
advanced lighting analysis of lighting 2–1376
object properties 1–114 analyzing
select advanced lighting rollout 2–1350 Shockwave 3D files 3–230
advanced lighting override material 2–1188 W3D files 3–230
advanced quad menu options 3–522 anchor (VRML97 helpers) 3–240
advanced ray-traced parameters rollout 2–985 anchor patches 2–316
advanced shaders rollout angle 1–257
mental ray material 2–1169 angle of incidence 2–916, 2–918
advanced surface approximation dialog 2–606 angle separation 3–540
AEC design elements 1–180 angle snap 2–653
AEC extended 1–180 animated
editing wall objects 1–198 bitmap 2–1080
foliage 1–184 material previews 2–1079
railing 1–188 texture 3–655
wall 1–193 animating
affect region 2–52 attachment 2–779
soft selection rollout (EMesh) 2–312 cameras 2–1010, 2–1020
soft selection rollout (NURBS) 2–509 lights 2–922
affine transformation (glossary) 3–653 links 2–776
AI import dialog 3–135 materials 2–1079
aliasing/antialiasing scene 1–8
alias against background 3–540 shift+rotate 2–12
and supersampling 2–1088 shift+scale 2–12
fast adaptive 2–1155 sub-object geometry 2–353
filters 2–1343 transforms 1–354
glossary 3–653 with applied IK 2–799
multiresolution adaptive 2–1156 with IK solvers 2–786
align 1–389 with interactive IK 2–798
align geometry dialog (edit poly) 2–125 animation
and pivot point 2–805 auto key mode 2–672
camera 1–395 concepts 2–669 to 2–670
dialog 1–389 constraints 2–740
editable mesh objects 2–354 controllers 2–697, 3–656
Index 753
glossary 3–655 archive 3–111

methods 2–669 file menu 3–110
NURBS 2–455 program (files preferences) 3–548
preferences settings 3–546 archiving scenes 1–17
show ghosting 1–44 area light rollout 2–983
toggle animation mode 2–672 area light sampling rollout 2–983
utilities 2–907 area lights 3–656
with radiosity 2–1360 omni 2–938
animation controls 3–440 spotlight 2–939
animation menu 3–391 area omni light 2–938
constraints 2–724, 2–740 to 2–741, 2–743, 2–745, area shadows 3–657
2–748, 2–753, 2–756 area shadows rollout 2–986
dummy 2–631 area spot light 2–939
IK solvers 2–784 array 1–376
make preview 2–1451 arraying objects 2–14
previews 2–1451 button 1–376
rename preview 2–1453 creating 2–1
view preview 2–1453 creating arrays 2–17, 2–19
walkthrough assistant 2–1020 dialog 1–377
wire parameters 2–758 to 2–759 flyout 1–374
animation mode using the array dialog 2–15
set key 2–673 array dialog 1–377
animation modifiers 2–51 array flyout 1–374
animation quad menu 3–402 artificial light 2–919
animation range ASCII files: exporting 3–145
ignore 2–841 ASE files 3–145
respect 2–841 aspect ratio 2–1336, 3–657
anisotropic highlights 2–1116 assemblies
anisotropic shader and groups 1–93
anisotropy mapping 2–1128 and selection sets 1–93
basic parameters rollout 2–1104 attach to 1–104
antialiasing 2–1397, 3–676, 3–724 close 1–103
applied ik create 1–101
glossary 3–656 disassemble 1–104
applied IK 2–783, 2–799, 2–808 explode 1–104
apply ease curve 2–891 open 1–103
apply ease or multiplier curve (Track View) 2–891 working with 1–93
apply multiplier curve 2–891 assembly commands 1–100
applying materials 2–1035, 2–1039 assembly heads helper objects 1–105
arc 1–246 assembly menu
arc rotate 3–465 to 3–466 assemble 1–101
Architectural Desktop attach 1–104
files 3–342 detach 1–104
materials 3–344 disassemble 1–104
objects 3–343, 3–360 explode 1–104
styles 3–360 asset browser 3–117
architectural material 2–1157 geo-referencing 3–117
advanced lighting override rollout 2–1162 internet download dialog 3–130
and radiosity solution 2–1162 preferences 3–130
physical qualities rollout 2–1159 using 1–15
special effects rollout 2–1161 Volo View Express 3–117
templates rollout 2–1158 asset tracking
dialog 3–102
754 Index
icons 3–109 auto key 2–672, 3–441

open from vault 3–93 and set key 2–674
asset tracking dialog 3–102 auto termination rollout 2–816
asset tracking dialog icons 3–109 AutoCAD
asset tracking prompts 3–109 blocks 3–355, 3–357
assign importing DWG and DXF files 3–147
controller (Track View) 2–857 importing DXF files 3–159
controller rollout (motion panel) 3–495 instanced objects 3–355
material to selection 2–1071 AutoCAD blocks in Autodesk VIZ 3–340
vertex colors utility 2–1303 AutoCAD DWG/DXF import options dialog 3–147
assign renderer rollout 2–1341 AutoCAD, Architectural Desktop and Revit
assigning working with 3–339
colors to objects 1–130 autodesk inventor files
controllers 2–685 importing 3–165
materials 2–1035, 2–1039 Autodesk Vault 3–102
asterisk (in modifier stack) 2–36 Autodesk VIZ
atmospheres and effects main window 1–9
adding atmosphere 3–57 user reference 1–ix
and raytracing 2–1151 Autodesk VIZ on the web 3–628
atmospheric effect 3–53, 3–62, 3–64, 3–68 autogrid 3–659
for atmospheric apparatus 3–84 AutoGrid 2–623
for lights 2–979 automatic
atmospheric apparatus 3–83 auto archive 3–548
BoxGizmo 3–84 auto backup 1–17, 3–548
CylGizmo 3–85 auto secondary (lens effects) 3–19
SphereGizmo 3–87 auto termination (IK) 2–816
attach automatic exposure control 3–74
attach options 2–374 automatic mapping rollout
attaching and importing Autodesk VIZ objects 2–484 rendering to texture 2–1449
controls dialog (block controller) 2–737 autoplay preview file 3–537
editable mesh edges 2–362 AVI files 2–1451, 3–252
editable patch 2–337 awning window 1–228
editable patch object 2–321 axis constraints 1–368 to 1–371, 3–396
object 2–316, 2–321 and hierarchies 2–817
splines 1–266, 1–268, 1–280 and rollouts 2–817
to assembly 1–104 and scaling 1–346
to groups 1–100 and snaps 2–654
attachment axis constraints toolbar 3–396
animating 2–779 axis tripod 1–43
constraint 2–741 and transform managers 1–354
attenuation 2–916, 2–918, 3–658 and World Axis 1–343
and lights 3–551 axonometric views 1–22, 3–659
parameters 2–975 azimuth (sunlight and daylight system 1–337
raytrace attenuation rollout 2–1278
audio controller 2–698, 2–735 B
AudioClip (VRML97 helpers) 3–249 B-spline (glossary) 3–659
auto expand backburner 2–1465
animated 2–837 network rendering 2–1456, 2–1462
base objects 2–837 backburner command line control 2–1499
keyable 2–837 backface cull on object creation 3–551
materials 2–837 backfacing - ignore 2–350, 2–366, 2–375
transforms 2–837 background 1–42
xyz components 2–837 and antialiasing 2–60, 2–1343
background image 1–36
Index 755
color 3–53, 3–57 patches 2–337

image 3–53 types of beveling 1–326
reset background transform 1–43 bevel polygons dialog 2–431
sample slot 2–1063 bezier
select background image 1–40 controllers 2–699
update viewport image 1–42 handle control 2–890
viewport 3–453 bezier curves 3–660
viewport background 1–36 bias
VRML97 helpers 3–248 mental ray shadow maps 2–989
backlight (sample slot) 2–1062 bifold door 1–223
backup billboard (VRML97 helpers) 3–250
auto 3–548 binding
backing up and archiving scenes 1–17 objects 2–782, 2–786, 2–808
backup on save 3–548 vertices 1–268
files 3–548 bitmap map 2–1205
recovered files 1–18 bitmap pager 3–542
baked material rollout bitmap pager statistics dialog 3–129
rendering to texture 2–1448 bitmap/photometric path editor 3–123, 3–132
baking textures 2–1437 bitmaps
target map slot 2–1443 choosing 2–1209
texture elements 2–1440 display 3–561, 3–565
barycentric glossary 3–660
coordinates (glossary) 3–659 Material Editor 2–1205, 2–1209
basic file link settings 3–327 path configuration 3–116, 3–532
basic key info 2–694 path editor 3–123
basic parameters rollout blend
materials 2–1096 blend curve (NURBS) 2–520
basics blend element parameters 2–1436
basic building blocks 1–127 blend material 2–1178
creating and modifying objects 1–125 blend object (glossary) 3–661
file linking 3–318 blend surface (NURBS) 2–545
selecting objects 1–60 blend map (baking) 2–1441
batch Blinn highlights 2–1118
rendering 2–1456 to 2–1457, 2–1462 Blinn shader basic parameters 2–1105
batch rendering 2–1456 to 2–1457, 2–1462 block
backburner 2–1456, 2–1462 to 2–1463 controller 2–737 to 2–738, 2–740
batch render dialog 2–1457 block controller 2–702
batch render tool 2–1457 block reference 3–661
cameras 2–1456 to 2–1457, 2–1462 block/style parent 3–661
error dialog 2–1457 blocks 3–357
errors 2–1457 and linking to Autodesk VIZ 3–661, 3–745
network rendering 2–1456 to 2–1457, 2–1462 AutoCAD 3–340, 3–355
presets 2–1457 AutoCAD and Autodesk VIZ 3–336
quick start 2–1463 material assignment 3–358
scene states 2–1456 to 2–1457, 2–1462 materials 3–358
using 2–1463 multi-view 3–358
batch rendering completed 2–1457 propagation 3–355
bend modifier 2–53 blowup (render) 2–1326
bevel blur
bevel modifier 2–55 and blur offset (glossary) 3–661
bevel profile modifier 2–58 rendering effect 3–41
deformation 1–326 BMP files 3–253
faces and polygons 2–366 Boolean controller 2–705
756 Index
Booleans button sets (utilities) 3–500

alignment 1–298 clone and align tool 1–386
and editable splines 1–280 crossing 1–85
Boolean objects 1–298 current frame 3–446
Boolean operation (glossary) 3–662 dolly camera 3–467
colinear edges 1–298 dolly light 3–472
combining objects that have materials 1–305 dolly target 3–467, 3–472
complexity between operands 1–298 full screen 3–459
coplanar faces 1–298 get material 2–1069
face normals 1–298 go forward to sibling 2–1076
inverted meshes 1–298 go to end 3–446
material IDs 1–298 go to frame 3–446
overlapping elements 1–298 go to parent 2–1076
surface topology 1–298 go to start 3–445
troubleshooting problems with 3–632 light falloff 3–475
with maps and materials 1–298 light hotspot 3–473
bound vertex 1–268, 3–662 lock selection 2–865
bounding box (glossary) 3–663 make unique (Material Editor) 2–1072
box material and map type 2–1078
BoxGizmo 3–84 Material Editor 2–1057
standard primitive 1–142 Material Editor options 2–1066
box caustics filter 2–1404 maximize viewport 3–459
box selected mirror 1–375
render bounding box/selected dialog 2–1329 next frame 3–446
break normal align 1–392
spline at selected vertex 1–268 orbit/pan camera 3–470
vertices 2–357 orbit/pan light 3–477
bricks 2–1232 pan (Track View) 2–899
bridge dialog 2–432 pan (user interface) 3–465
bridge edges dialog 2–433 percent snap 2–653
brightness and contrast effect 3–46 perspective 3–468
browser pick material from object 2–1078
material/map 2–1042 place highlight 1–394
browsing from Autodesk VIZ 3–117 play/stop 3–445
brush options 2–302 previous frame 3–445
BSP method 2–1425 quick align 1–392
BSP method, raytrace acceleration 3–719 quick render (Production) 2–1330
buckets, distributed rendering 2–1421 redo 1–90
build face 2–366 render scene 2–1325
bump mapping 2–1131, 2–1161 roll camera 3–469
bump shader (mental ray) 2–1287 roll light 3–475
button scale keys 2–869, 2–888
2.5D snap 2–651 scale values 2–888
2D snap 2–651 select and link 2–768
3D snap 2–651 select and manipulate 2–643
align 1–389 select and move 1–360
align camera 1–395 select and rotate 1–360
align to view 1–395 select and uniform scale 1–361
angle snap 2–653 select by material 2–1069
animate 3–441 select by name 1–74
arc rotate 3–466 select object 1–73
array 1–376 selection center 1–367
auto key 3–441 selection lock 3–436
Index 757
sets of modifiers 3–493 camera view 1–22

show curves 3–434 camera viewport controls 3–467
show end result 2–1076 choosing for vertical views 2–995
snapshot 1–380 common parameters 2–1003
spacing tool 1–381 create camera from view 1–46
spinner snap 2–653 depth of field parameters (mental ray renderer) 2–1012
squash 1–363 dolly or target 3–467
transform coordinate center 1–367 free 2–999
truck camera 3–470 match camera to view 1–395
truck light 3–476 multi-pass parameters 2–1012
undo 1–90 orbit/pan 2–1010, 3–470
unlink selection 2–769 placing 1–6
use pivot point center 1–367 roll 3–469
zoom 3–461 setting lens size 2–1003
zoom (Track View) 2–900 target 2–1000
zoom all 3–461 truck 3–470
zoom extents 3–462 using clipping planes to exclude geometry 2–1009
zoom extents all 3–459 using horizon to match perspective 2–1009
zoom extents all selected 3–459 using move and rotate to aim 2–1008
zoom extents selected 3–462 using transforms to aim 2–1008
zoom horizontal extents 2–899 with target 2–1000
zoom region 3–464 zoom 2–1010
zoom region (Track View) 2–901 cameras palette 3–412
zoom selected object 2–896 candela 3–694
zoom value extents 2–900 canopy mode 1–184
button appearance 3–524 cap holes modifier 2–62
by layer 3–663 cap surface 2–557
bylayer 3–362 capsule 1–166
capture viewport 1–33
C casement window 1–229
C-Ext 1–171 category, hiding and unhiding objects by 1–68
calculation order (joint precedence) 2–792 caustics 2–1391, 2–1404
calculator 1–10 caustics (mental ray) 2–1380
camera correction modifier 2–1019 caustics and global illumination rollout 2–1404
camera effects rollout 2–1400 CCB files 2–299
camera map modifier cellular map 2–1238
object space 2–60 center 1–356
world space 2–41 chains (kinematic) 2–796, 3–690
camera map per pixel 2–1302 chamfer
camera match and editable splines 1–268
camera match helper 2–1018 chamfer curve (NURBS) 2–523
camera match point 2–1018 ChamferBox 1–162
camera match utility 2–1014 ChamferCyl 1–163
camera point 2–1018 editable mesh edges 2–362
CamPoint 2–1018 glossary 3–663
camera tools chamfer dialog 2–435
customize heights dialog 3–413 change of value over time 2–886
camera view
right-click menu 3–453
camera viewports 1–31, 3–467
cameras 2–995, 2–1001
align camera button 1–395
animating 2–1010, 2–1020
camera object icons 2–995
758 Index
changed feature in 2007 2–97, 2–157, 2–247, 2–252, 2–377, close

2–381, 2–384, 2–399, 2–726, 2–836, 2–860, 2–868, assembly 1–103
2–887, 2–897, 2–900, 2–989, 2–1059, 2–1320, 2–1334, group (group menu) 1–99
2–1400, 2–1409, 2–1411, 2–1413, 2–1415, 2–1421, close curve dialog 2–590, 2–597
2–1426, 2–1436, 2–1457, 3–147, 3–157, 3–258, 3–277, CLR files 3–519
3–281, 3–284, 3–292, 3–296, 3–298 to 3–299, 3–330, cmdjob.exe 2–1499
3–440, 3–529, 3–531, 3–533, 3–546, 3–548, 3–551, codec (glossary) 3–664
3–720 coincident - making splines 2–212
changed name 2–1232, 2–1254 collapse
changed path 2–1154, 2–1339, 2–1341 to 2–1342, 2–1370 collapse utility 2–314
to 2–1371, 2–1375, 2–1433 stack 2–314
changing vertices 2–357, 2–366
controller properties 2–683 collapse controller tool (Track View) 2–842
light objects 2–921 color
link inheritance 2–779 and light 2–916, 2–918, 2–961
smoothing 1–138 and program state 1–10
video system 2–1064 and realism 2–1030
channel 1–256 assigning to objects 1–130
channel (map) 3–695 balance (render effect) 3–46
checker map 2–1212 bleeding 2–1392
children changing vertex color 2–366
don’t affect 2–807 color selector 1–132
choose directory dialog 3–529, 3–531 copying 1–135, 2–1081
choose renderer dialog 2–1341 display 1–49
choosing illegal video colors 2–1064
child-to-parent precedence 2–794 name and color rollout 3–479
colors for realism 2–1030 object color dialog 1–130
parent-to-child precedence 2–795 parameters 2–975
playback speed and frame rate 2–680 selecting vertices by 2–89, 2–390
transform center 1–356 temperature (light color) 2–916
CIBSE files 3–663 color clipboard files 2–299
cineon image file format dialog 3–253 color clipboard utility 1–135
circle 1–244 color controls 2–1110
circular color modifier maps 2–1264
falloff graph 3–35 color palette
circular arrays 2–19 vertexpaint modifier 2–299
circulating color RGB controller 2–706
materials 3–355 color selector 1–132, 3–537
clean multimaterial utility 2–1308 colors panel (customize UI) 3–519
clean remove 2–404 combining objects 1–298
clipping planes 2–1003, 2–1009, 3–664 Combustion
clone 2–6 adding workspace 2–1431
clone and align tool 1–386 combustion map 2–1213
cloning 2–6 combustion workspace file 3–254
clone 2–6 command line
materials 3–355 rendering 2–1493, 2–1496, 2–1499
objects 1–380, 2–3, 2–13 command panel
shape sub-object selections 1–261 troubleshooting when missing 3–640
shift+move 2–9 command panels
shift+rotate 2–10 create 3–479
shift+scale 2–11 display 3–496
sub-object geometry 2–353 hierarchy 3–494
modify 3–480
Index 759
motion 3–495 system paths 3–531

overview 3–478 time 3–447
utilities 3–499 track bar 3–432
command-line options (MAXScript) 3–504 user paths 3–529
command-line options (starting Autodesk VIZ) 3–383 utilities button sets 3–500
command-line rendering 2–1493, 2–1499 viewports 3–585
backburner command line 2–1499 configure paths 3–529
batch render 2–1493 configure preset dialog 2–1339
DOS 2–1496 configure system paths 3–531
pre-render scripts 2–1493, 2–1499 configure user paths 3–529
commands provided only from the keyboard 3–381 bitmaps 2–1480, 3–532
comments on the documentation 3–620 file i/o path configuration 3–533
common panel FX files 3–532
render scene dialog 2–1333 plug-ins path configuration 3–535
common parameters rollout 2–1334 using 2–1480
commonality 2–38 connect compound object 1–292
communication center connect edges dialog 2–435
keyboard shortcuts 3–602 connect parameter to shader dialog (mental ray) 2–1285
compare dialog (loft objects) 1–333 constant
compass helper object 2–642 coordinate system 3–537
complete map (baking) 2–1441 facet shading 3–674
component color - specular 3–733 constrained point
composite glossary 3–665
glossary 3–664 constraints 2–682, 2–740
map 2–1260 attachment 2–741
material 2–1179 axis constraints 1–368 to 1–371, 3–396
compositor link 2–750
compositor maps 2–1259 look-at 2–753
compound materials orientation 2–756
glossary 3–664 path 2–745
kinds of 2–1177 position 2–748
compound objects 1–285 surface 2–743
Boolean 1–298 transform constraints 1–368
connect 1–292 constraints toolbar 1–370
scatter 1–286 contacting us 1–xii
ShapeMerge 1–296 containers (glossary) 3–665
terrain 1–306 content browser 3–124
concepts 2–1387 utility 3–124
concrete palette 3–405 content browser (glossary) 3–665
cone 1–143 continuity 3–665
cone (spotlight) 2–969 continuity level (glossary) 3–665
cone angle manipulator 2–643 NURBS concepts 2–456
cone caustics filter 2–1404 contour shading
configuration mental ray 2–1396
network rendering 2–1467 contrast sampling thresholds 2–1397
configuration settings 2–1415 control lattice (glossary) 3–666
configure control objects (IK) 2–781
Direct3D 3–565 control vertex (CV) 3–667
driver 3–551, 3–560 control vertex (glossary) 3–666
key mode 3–447 controller 3–666
modifier sets 3–493 controller menu, Track View 2–841
OpenGL 3–561 controller toolbar, Track View 2–852
software display driver 3–561 controller window, Track View 2–828
760 Index
controllers 2–687 to 2–689, 2–697 controls

assigning 2–685 camera viewport 3–467
audio 2–698 light viewport 3–471
bezier 2–699 perspective and orthographic 3–460
block 2–702 special 1–10
Boolean 2–705 viewport 3–457
categories of 2–682 conversion modifier
changing length 2–819 turn to mesh 2–240
changing properties 2–683 turn to patch 2–241
changing range 2–819 turn to poly 2–243
collapsing procedural controllers 2–842 convert surface dialog 2–589
color RGB 2–706 convex hull property (glossary) 3–666
copy 2–855 cool (glossary) 3–666
default settings 3–546 coordinate display (mouse position) 3–437
Euler XYZ rotation 2–707 coordinate system 1–364
frame duration 2–819 coordinate system category manager dialog 3–568
general-purpose controllers 2–687 coordinates
limit 2–709 absolute/offset display 3–437
linear 2–715 barycentric (glossary) 3–659
list 2–716 coordinate display 3–437
local euler XYZ rotation 2–718 coordinate system 1–364
look at 2–718 coordinates rollouts 2–1199, 2–1237
make unique 2–861 mapping 2–1036
noise 2–720 copies 2–2
on/off 2–721 creating 2–1
paste 2–856 overview 2–2
point3 XYZ 2–706 copy
position XYZ 2–722 a material, map, bitmap, or color 2–1048
properties 2–870 copy controller 2–855
PRS 2–723 copy keys 2–887
scale XYZ 2–724 copy map dialog 2–1080
script 2–725 copy tangent handles 1–268
slave 2–702 copy time (Track View) 2–876
smooth rotation 2–728 copying
specifying default 2–686 and pasting items/objects 2–883 to 2–884
TCB 2–728 colors 1–135, 2–1081
time duration 2–819 copy controller (Track View) 2–855
transform script 2–731 copy time (Track View) 2–876
types of 2–681, 2–857 copy track (Track View) 2–876
understanding 2–682 joint parameters 2–812
viewing types 2–682 materials 2–1039, 3–355
waveform 2–733 modifiers 2–855
working with 2–681 patch surface 2–316
controlling presets 3–335
display performance 1–26 splines 1–280
flipping on path 2–745 transform keys 2–676
IK precision 2–788 crash recovery 1–18
object display 1–49 create assembly (assembly menu) 1–101
position 2–690 create assembly dialog 1–102
rotation 2–690 create camera from view 1–46
time 2–678 create key dialog 2–677
transforms 2–690 create material preview dialog 2–1081
viewport rendering 1–25
Index 761
create menu 1–306, 3–387 faces 2–366

AEC objects 1–184, 1–188, 1–193, 1–203, 1–206, fillet curve 2–526
1–210, 1–214, 1–222 to 1–223, 1–228 to 1–233 fillet surface 2–578
cameras 2–995, 2–999 to 2–1000 independent surfaces from NURBS curve objects 2–479
compound objects 1–286, 1–292, 1–296, 1–298, 1–312 iso curve 2–530
extended primitives 1–157 lathe surface 2–552
lights 2–911 linear arrays 2–17
NURBS 2–466, 2–468, 2–471, 2–475 mirror curve 2–522
patch grids 2–346 to 2–347, 2–349 mirror surface 2–549
photometric lights 2–942 to 2–948 models with NURBS 2–459
shapes 1–234, 1–242, 1–244 to 1–250, 1–252 to 1–253, multicurve trim surface 2–576
1–255 to 1–257, 1–259 multiple slices 2–375
standard lights 2–927 to 2–928, 2–930 to 2–931, 2–933 multisided blend surface 2–575
to 2–934 normal projected curve 2–531
standard primitives 1–141 NURBS curves from splines 2–479
create new layer 3–374 NURBS CV curve 2–475
create out of range keys 2–845 NURBS models 2–444
create out-of-range keys utility (Track View) 2–872 NURBS point curve 2–471
create panel 1–126, 3–479 NURBS sub-objects 2–446
cameras 2–995 NURBS surfaces 2–465, 2–480
helpers 2–618 objects (basics) 1–125
lights 2–911, 2–941 offset curve 2–521
systems 1–334 offset surface 2–548
create position lock key 2–699 point curve on surface 2–537
create rotation lock key 2–699 point curve sub-object 2–517
create shape (editable patch) 2–333 point curve with curve fit 2–519
creating point sub-objects 2–443, 2–581
1-rail sweep surface 2–566 point surface 2–466
2-rail sweep surface 2–571 point surface sub-object 2–543
an object 1–128 primitives from the keyboard 1–140
animated material previews 2–1079 ruled surface 2–555
arrays 2–1 shapes 1–234
blend surface 2–545 sub-objects 2–539
cap surface 2–557 surface edge curve 2–539
chamfer curve 2–523 surface offset curve 2–529
circular and spiral arrays 2–19 surface sub-objects 2–539
copies 2–1 surface-surface intersection curve 2–528
curve sub-objects 2–514 transform curve 2–519
custom sample object 2–1056 transform surface 2–544
CV curve on surface 2–534 U loft surface 2–558
CV curve sub-object 2–515 UV loft surface 2–562
CV surface 2–468 vector projected curve 2–533
CV surface sub-object 2–541 creation method rollout 1–313
dependent curve point 2–582 creation parameters
dependent curve-curve point 2–585 glossary 3–667
dependent curves 2–514 cross sections 1–253, 1–255 to 1–257, 1–259, 2–63, 2–212
dependent offset point 2–581 cross-hairs cursor 3–537
dependent surface point 2–584 crossing selection 1–85
dependent surface-curve point 2–586 CrossSection modifier 2–63
dependent surfaces 2–539 CUI files 3–525, 3–527
editable mesh edges from shapes 2–362 current frame 3–430, 3–446
editable mesh vertices 2–357 current value editor 2–845, 2–874
extrude surface 2–550 currentdefaults.ini 3–510
762 Index
currently installed driver 3–551 cut time (Track View) 2–876

curve editor 2–818, 2–826, 2–847 cutout mapping 2–1162, 2–1165
display menu 2–839 CV 3–667
modes menu 2–835 CV curve
curves CV curve 2–475
curve approximation 2–600 CV curve (glossary) 3–667
curve fit 2–519 CV curve on surface 2–534
curve point 2–582 CV curve sub-object 2–515
curve-curve intersection point 2–585 CV sub-objects 2–450
curve-curve point 2–585 CV surface
freeze non-selected 2–895 CV surface 2–468
curves menu CV surface (glossary) 3–668
Track View 2–845 CV surface sub-object 2–541
curves toolbar 2–847 CWS file 2–1431
custom grid 2–635 CWS file (combustion workspace) 3–254
custom splash screen 1–16 cycling
custom UI and defaults switcher 3–509 animation 2–861
custom UI scheme 3–525 cylinder
customize chamfer 1–163
keyboard shortcut 3–355 CylGizmo 3–85
toolbar 3–355 standard primitive 1–148
customize menu 3–393 cylindrical area omni light 2–938
configure system paths 3–531
configure user paths 3–529 D
customize user interface 3–511 damping joint action 2–792
grid and snap settings 2–654 data management
load custom UI scheme 3–527 asset tracking dialog 3–102
lock UI layout 3–508 open from vault 3–93
plug-in manager 3–508 datum
preferences 3–536 define 3–570
revert to startup UI layout 3–529 manager 3–569
save custom UI scheme 3–527 modify 3–576
show UI 3–508 properties 3–569
viewport configuration 3–585 select 3–579
customize user interface 3–511 datum manager dialog 3–569
colors 3–519 datum properties dialog 3–569
keyboard shortcuts 3–512, 3–605 daylight
load UI scheme 3–527 IES sky 2–951
lock UI layout 3–508 IES sun 2–949
menus 3–517 DDS files (glossary) 3–254
overview 3–505 deactivate all maps 1–48
quad menus 3–515 decay 2–975
revert to startup layout 3–529 default
save UI scheme 3–527 controller settings 2–686, 3–546
shortcuts 3–512 controllers 2–686
tool palettes 3–520 heights 2–617
toolbars 3–513 keyboard shortcuts 3–601 to 3–605, 3–608, 3–610 to
customizing user interface 3–611, 3–617
Track View 2–903 lighting 2–911, 2–914
cut material settings 2–1072
and slice 2–362, 2–375 defaults
and snaps 2–375 setting 3–510
time (Track View) 2–876 setting and changing 1–16
switching 3–509
Index 763
defaultui.cui file 1–10 editable mesh vertices 2–357

define datum dialog 3–570 editable patches 2–337
define ellipsoid dialog 3–571 patch surface 2–316
define global coordinate system dialog 3–571 detach editable mesh vertices 2–357
defining DGS material (mental ray) 2–1170
search terms (HTML help viewer) 3–622 dgs material shader (mental ray) 2–1288
time tags 3–439 diagnostics
deform mental ray renderer 2–1420
deform bevel 1–326 dialog
deform fit 1–327 asset tracking 3–102
deform scale 1–323 bevel polygons 2–431
deform teeter 1–325 bitmap pager statistics 3–129
deform twist 1–324 chamfer 2–435
deformations (and loft objects) 1–322, 1–328 connect edges 2–435
degradation override 1–32 extrude polygons 2–437
degree 2–456, 3–668 flatten mapping 2–264
delete 1–91 MAXScript debugger 3–503
controller 2–859 normal mapping 2–265
keys 2–864, 3–432 prompts 3–109
maps 2–1044 relax tool 2–266
material 2–1044 unfold mapping 2–270
mesh modifier 2–66 unwrap options 2–271
patch modifier 2–67 XRef objects 3–284
Schematic View 3–314 dialogs
selected keys (track bar) 3–432 toggling 3–382
spline modifier 2–67 dielectric material shader (mental ray) 2–1291
time (Track View) 2–876 different ambient and different diffuse materials
Track View 2–901 to 2–902 dialog 3–128
delete keys 2–819, 2–864 diffuse
delete selected animation 3–402 diffuse color (glossary) 3–668
delete time (Track View) 2–876 diffuse distribution 2–954
delete Track View 2–901 diffuse level 2–1114
deleting diffuse level mapping 2–1124
blocks of time 2–876 diffuse mapping 2–1123
editable mesh edges 2–362 roughness mapping 2–1124
editable mesh vertices 2–357 diffuse map (baking) 2–1441
isolated editable mesh vertices 2–357 diffuse parameters rollout 2–1437
patch surfaces 2–316 diffuse texture element rollout 2–1437
splines 1–280 direct manipulation mode 2–378
vertices 1–268 Direct3D driver 3–558, 3–564 to 3–565
dent map 2–1240 Direct3D driver setup dialog 3–564
dependencies (views menu) 1–45 directional parameters 2–978
dependent sub-objects 2–452, 3–668 directories
depth of field 2–1012, 2–1389, 2–1400, 3–50 for network rendering 2–1477
description dialog 3–425 to 3–426 mounting 2–1479
deselect all 1–82 sharing 2–1479
Design Web Format 3–139 disassemble 1–104
designing materials 2–1025 disc (circular) area light 2–939
detach displace
detach (assembly) 1–104 disp approx modifier (OSM) 2–68
detach (group menu) 1–100 displace mesh (world space) 2–42
detach dialog (edit poly) 2–126 displace modifier (OSM) 2–69
detach dialog (NURBS curve/surface) 2–590 displace NURBS (world space) 2–43
764 Index
displacement mapping 2–68, 2–1135, 2–1161 distribution

displacement shading materials 3–355
mental ray renderer 2–1395 dithering (glossary) 3–669
display divide
backface cull 3–496 edges 2–375
coordinate display 3–437 editable mesh edges 2–362
display controls for NURBS models 2–482 faces 2–366
display driver (specifying at startup) 3–383 segments 1–275
display floater 3–496 docking 3–669
display floater (Schematic View) 3–313 documentation for Autodesk VIZ 1–xii
display image 3–114 DOF 2–1012, 3–50
display performance 1–26 dolly
display plane 2–622 camera 3–467
display properties rollout 1–52 light 3–472
grid settings 3–438 target 3–467, 3–472
hide/unhide (glossary) 3–684 don’t affect children 2–807
hide/unhide objects 3–496 donut 1–247
key bracket display 3–546 doors 1–180, 1–217
layer properties 3–363 bifold 1–223
line parameters for NURBS surfaces 2–483 pivot 1–222
nth frame 3–551 sliding 1–223
NU scale warning 3–537 doors / windows palette 3–405
properties 3–496 dope sheet 2–818, 2–826
reflectance 2–1060 modes menu 2–835
selection floaters 1–76 toolbars 2–850
stack collapse warning 3–537 DOS
topology-dependence warning 3–537 command-line rendering 2–1496
track bar 3–435 double-sided 3–649
transmittance 2–1060 double-sided material 2–1181
world axis 3–551 download options (asset browser) 3–130
display color rollout 1–49 download updates 3–628
display driver setup dialog 3–558 drag and drop
display menu and copied/instanced maps 2–1080
curve editor 2–839 and instanced objects 3–355
display panel 3–496 content from web pages 3–134
display color rollout 1–49 maps and materials 2–1054
display properties rollout 1–52 modifier 2–28
freeze rollout 1–51 sub-object material assignment 2–1055
hide by category rollout 1–50 with i-drop indicator 3–134
hide rollout 1–51 draw links as lines 3–551
link display rollout 1–55 drawing aids 2–617, 2–664
object display 1–49 DRF files 3–136 to 3–137
displaying driver setup/configuration 3–558, 3–561, 3–565
links 2–767 dummies
selected key statistics (Track View) 2–899 dummy helper object 2–631
selected keys 2–898 dummy object (glossary) 3–669
distance dummy objects
distance from origin (accuracy setting) 3–537 using 2–775
measuring 2–629, 2–631 duplicate name dialog (material library) 2–1082
distributed bucket rendering rollout 2–1421 DWF
distributed maps 2–1421 exporting 3–139
distributed rendering 2–1421, 3–720 DWG files 3–670
exporting 3–157
Index 765
importing 3–147 select by color 1–83

DWG/DXF import options dialog 3–147 select by name 1–83
DXF files 3–670 select invert 1–82
exporting 3–165 select none 1–82
importing 3–147, 3–159 select region crossing 1–84
selection method 1–84
E undo/redo 1–89
ease curve edit modifiers
applying 2–891 and editable objects 2–34
deleting 2–892 edit mesh modifier 2–74
enable toggle 2–892 edit patch modifier 2–74
glossary 3–670 edit poly modifier 2–76
ease out-of-range types (Track View) 2–893 edit spline modifier 2–126
edge visibility threshold 2–362 edit named selections 1–85
edges edit poly
aligning 2–362 align geometry dialog 2–125
and rendering 3–540 border 2–107
attaching 2–362 bridge edges dialog 2–433
chamfer 2–362 chamfer dialog 2–435
creating shapes from 2–362 connect edges dialog 2–435
cut and slice 2–362 detach dialog 2–126
deleting 2–362 edge 2–97
divide 2–375 keyboard shortcuts 3–603
dividing 2–362 object 2–86
extruding 2–362 paint deformation rollout 2–429
make planar 2–362 polygon/element 2–114
rotating 2–362 preserve map channels dialog 2–440
welding 2–362 relax dialog 2–441
edges, deleting 2–362 vertex 2–89
edit edit poly modifier 2–76
button appearance 3–524 edit ranges 2–882
preset settings 3–336 edit ranges mode (Track View) 2–827, 2–833
ranges (Track View) 2–882 edit texture surface dialog 2–592
tag 3–440 edit time mode (Track View) 2–833, 2–874
time 2–874 edit time tag 3–440
time tag dialog 3–440 edit UVWs dialog 2–252
edit category dialog 3–572 menu bar 2–260
edit commands 1–89 edit wire 2–759
edit curve on surface dialog 2–591 edit/editable object shortcuts 3–603 to 3–604
edit keys (Track View) 2–833, 2–864, 2–869 editable mesh 2–350, 3–671
edit keys mode 2–827 aligning 2–354
edit macro button dialog 3–524 edge 2–362
edit menu 3–385 element 2–366
clone 2–6 exploding 2–354
delete 1–91 face 2–366
edit named selections 1–85 object 2–354
fetch 1–91 polygon 2–366
hold 1–91 vertex 2–357
object properties 1–107 editable objects and edit modifiers 2–34
redo 1–90 editable patch 2–316
region 1–83 attach 2–337
Schematic View 3–304 changing vertex type 2–325
select all 1–82 deleting vertices 2–325
select by 1–83
766 Index
detach 2–337 color balance lens effects 3–46

edge 2–333 depth of field lens effects 3–50
element 2–343 effects (rendering menu) 3–2
handle 2–331 effects panel 3–3
keyboard shortcuts 3–604 environment and effects dialog 3–1
object 2–321 file output lens effects 3–47
patch 2–337 film grain lens effects 3–49
vector 2–331 glow lens effects 3–7
vertex 2–325 lens effects 3–4
visibility of 2–321 manual secondary lens effects 3–23
editable poly 2–377 merging from other files 3–4
border 2–411 ray lens effects 3–15
bridge edges dialog 2–433 rings lens effects 3–11
chamfer dialog 2–435 star lens effects 3–27
connect edges dialog 2–435 streak lens effects 3–31
edge 2–399 elements 3–671
glossary 3–671 of rendered textures 2–1440
keyboard shortcuts 3–604 rendering 2–1426
object 2–387 ellipse 1–245
paint deformation rollout 2–429 ellipsoid
polygon/element 2–418 define 3–571
preserve map channels dialog 2–440 manager 3–573
relax dialog 2–441 modify 3–577
vertex 2–390 properties 3–574
editable spline 1–261, 2–212 select 3–580
and overlapping vertices 1–261 ellipsoid manager dialog 3–573
attaching to 1–275 ellipsoid properties dialog 3–574
general rollout (for object and sub-objects) 1–261 email notification
identification numbers and 1–261 network rendering 2–1487
object 1–266 rendering 2–1339
rendering options 1–261 enable ease or multiplier curve toggle 2–892
segment 1–275 encapsulated PostScript files 3–254
setting vertex type 1–268 end effectors 2–782, 2–784, 2–788, 2–796, 3–671
spline 1–280 animating 2–786
vertex 1–268 linking to parent 2–786
vertex area selection 1–261 entering frames 2–897
editing entities
animation 2–694 AutoCAD 3–340
curve cv sub-objects 2–491 environment 3–52
curve sub-objects 2–498 and raytrace materials 2–1138
modifier stack 2–32 environment map (glossary) 3–672
named selection sets 1–63 environment panel 3–53
point sub-objects 2–487, 2–581 exposure controls 3–73
strokes 3–597 environment and effects dialog 3–1
surface cv sub-objects 2–494 effects panel 3–3
surface sub-objects 2–504 environment panel 3–53
time (Track View) 2–874 environment effect
time tags 3–440 fire 3–57
wall objects 1–198 fog 3–62
effects 3–1 volume fog 3–64
auto secondary lens effects 3–19 volume light 3–68
blur lens effects 3–41 environment shader (mental ray) 2–1292
brightness and contrast lens effects 3–46
Index 767
environments 3–1 IGES files 3–176

environment and effects dialog 3–1 objects 3–101
EPS files 3–254 selected objects 3–101
ERCO luminaires palette 3–415, 3–419 Shockwave 3D files 3–225 to 3–226
error dialog (Lightscape import) 3–224 stereolithography 3–233
errors 1–18 STL files 3–233
Euler XYZ rotation controller 2–707 to IGES 3–177
exclude VRML97 files 3–234
exclude left end point (Track View) 2–879 W3D files 3–225 to 3–226
exclude right end point (Track View) 2–880 exporting materials 2–1037
exclude/include lights 2–923, 2–965 expose transform
exclude left end point (Track View) 2–879 helper object 2–632
exclude right end point (Track View) 2–880 exposetm 2–632
excluding layers 3–337 helper object 2–632
execute network rendering 2–1471 exposure control 3–73
exit command (file menu) 3–116 automatic 3–74
expert mode 1–48 linear 3–76
explicit axis keys 2–689, 2–723 logarithmic 3–77
explode pseudo color 3–79
assemblies 1–104 expression evaluator 1–10
editable mesh objects/sub-objects 2–354 expression techniques 1–119
explode angle threshold 2–366 extended parameters rollout (materials) 2–1097
groups 1–100 extended primitives 1–157
splines 1–280 C-Ext 1–171
explode angle threshold 2–354 capsule 1–166
export Lightscape Block (BLK) file dialog 3–203 chamfer box 1–162
general panel 3–204 chamfer cylinder 1–163
lights panel 3–206 gengon 1–170
export Lightscape Layer (LAY) file dialog 3–208 hedra 1–158
export Lightscape Material (ATR) file dialog 3–208 hose 1–176
export Lightscape Parameter (DF) file dialog 3–209 L-Ext 1–169
export lightscape preparation (LP) file dialog L-Extrusion 1–169
daylight panel 3–198 oil tank 1–165
export Lightscape Preparation (LP) file dialog 3–192, prism 1–175
3–220 ringwave 1–173
animation panel 3–197 spindle 1–167
general panel 3–193 torus knot 1–160
lights panel 3–195 extended shapes
views panel 3–200 angle 1–257
windows panel 3–199 channel 1–256
export Lightscape View (VW) file dialog 3–201 tee 1–259
views panel 3–202 wide flange 1–259
windows panel 3–202 wrectangle 1–255
export selected (file menu) 3–101 extended splines 1–237
exporting extents
3D DWF 3–139 scene extents 3–726
3DS files 3–143 extents (glossary) 3–673
Adobe Illustrator files 3–145 external reference 3–749
ASCII files 3–145 external reference, AutoCAD (glossary) 3–749
DWG files 3–157 extras dope sheet toolbar
DXF files 3–165 Track View 2–852
export (file menu) 3–101 extras toolbar 3–397
FBX 3–171
768 Index
extrude FFD modifier 2–129

editable mesh edges 2–362 FFD(box) modifier 2–132
extrude modifier 2–127 FFD(cyl) modifier 2–132
extrude surface (NURBS) 2–550 FGM files 3–674
faces 2–128 field of view
faces and polygons 2–366 flyout 3–463
patches 2–337 glossary 3–674
extrude edges dialog 2–438 field-of-view
extrude polygons along spline dialog 2–436 field-of-view button 3–463
extrude polygons dialog 2–437 fields (glossary) 3–675
extrude vertices dialog 2–438 file corruption 3–630
extruded shapes 1–169, 1–171 file i/o path configuration 3–533
eyedropper tool 2–1078 file link 3–651
advanced settings 3–330
F basic settings 3–327
f-stop 2–1389, 2–1400 basics 3–318
fabrics palette 3–405 excluding layers 3–337
face extrude modifier 2–128 file link settings dialog 3–327, 3–333
face/edge thresholds (optimize modifier) 2–170 including layers 3–337
faces manager utility 3–323
assigning to smoothing groups 2–366 presets 3–327, 3–330
beveling and extruding 2–366 tips for using 3–319
creating 2–366 working with drawing files 3–316
dividing 2–366 xref resolution 3–337
tessellating 2–366 file menu 3–90, 3–385
faces sub-object archive 3–110 to 3–111
Lightscape mesh objects 3–215 exit 3–116
faces, assigning to smoothing groups 2–366 export 3–101
faceted (glossary) 3–674 export selected 3–101
fade in/out (lights) 2–975 file link manager 3–323
falloff 2–969 file properties 3–112
falloff map 2–1244 import 3–100
glossary 3–686 merge 3–97
light falloff 3–475 new 3–90
family elements open 3–91
from Revit 3–356 open recent 3–94
rendering properties 3–356 print setup 3–113
fast adaptive antialiaser 2–1155 print viewport 3–114
fast view display mode 3–586 replace 3–99
favorite location dialog 3–131 reset 3–91
favorites save 3–94
asset browser 3–131 save as 3–95
HTML help viewer 3–624 save copy as 3–96
FBX save selected 3–96
exporting 3–171 summary info 3–111
import advanced parameters dialog (animation) 3–170 view image file 3–114
importing 3–168 XRef objects 3–281
feedback about the documentation 1–xii, 3–620 XRef scene 3–292
fence selection region 1–78 file output 3–47
fetch 1–91 file properties 3–112
FFDs 3–674 file types
FFD 2x2x2 2–129 CWS 2–1431
FFD 3x3x3 2–129 file-handling commands 3–90
FFD 4x4x4 2–129
Index 769
files floating 3–669

backup and saving 3–548 flooring palette 3–405
compressed 3–548 fluorescence (glossary) 3–679
finding 3–126 fluorescent light tools
incremental saves 3–548 customize heights dialog 3–413
managing 1–13 fluorescent palette 3–412
mismatched units 3–584 flyouts 1–10
preferences settings 3–548 align 1–388
recent in file menu 3–548 arc rotate 3–466
fillet array 1–374
and editable splines 1–268 dolly camera/target 3–467
fillet curve 2–526 dolly light/target 3–472
fillet surface 2–578 field of view 3–463
fillet/chamfer modifier 2–134 flyout (glossary) 3–679
glossary 3–676 material ID channel 2–1074
film grain effect 3–49 orbit/pan light 3–477
filter color mapping 2–1128 restrict to plane 1–370
filter color/filter opacity (glossary) 3–676 selection region 1–76
filtering bitmaps 3–676 timing preferences 3–537
filters 2–1397 use center 1–366
caustics 2–1404 zoom extents 3–462
environment backgrounds (viewports) 3–551 zoom extents all 3–459
filter (track bar) 3–432 focus plane 2–1389
filter combinations dialog 1–80 fog
filtering selections 1–80 VRML97 helper 3–243
filters button (Track View) 2–853 fog environment effect 3–62
filters dialog (Track View) 2–853 foliage 1–180, 1–184
key 3–442 follow object
sampling 3–724 binding to 2–786
final gather map (FGM file) 3–674 glossary 3–679
final gather rollout 2–1409 follow/bank utility 2–907
final gathering 2–1392, 2–1409, 3–677 footcandle 3–687
finishes palette 3–405 forward kinematics 3–679
fire environment effect 3–57 and IK 2–781
first vertex 1–268, 3–678 manipulating hierarchies with 2–772
fit (deformation) 1–327 FOV
fix ambient utility 3–128 field-of-view button 3–463
fixed window 1–230 frame rate 2–680, 3–447, 3–680
fixing problems 3–629 frames (snapping) 2–865
flag properties dialog (Material Editor) 2–1229 free area light 2–948
flag with black 3–540 free camera 2–999
flat mirror map 2–1267, 2–1382, 3–678 free lights
flatten mapping 2–263 to 2–264 direct 2–933
flatten sides 2–366 linear 2–946
FLC files 3–255 spot 2–930
flip normals 1–137, 2–366 free-form deformation (FFD)
float controllers 2–689 box/cyl modifier 2–132
float limit controller 2–709 modifier 2–129
floaters 1–352, 3–496 shortcuts 3–605
display floaters 3–496 freeze
Schematic View display floater 3–313 freeze rollout (display panel) 1–51
selection floaters 1–76 freeze/unfreeze (glossary) 3–680
transform type-in 1–352 freezing/unfreezing objects 1–66, 3–496
770 Index
freeze non-selected curves (Track View) 2–895 using transform gizmos 1–348
freeze selection’s layer 3–375 global and local exclude/include dialog (for raytraced maps
full screen 3–459 and materials) 2–1154
function curve editor 2–826, 2–847 global coordinate system 3–544
function curves category manager 3–568
add keys mode 2–889 define 3–571
glossary 3–680 edit category 3–572
show tangents 2–890 manager 3–574
Track View 2–886 modify 3–577
fuse vertices 1–268, 1–275, 1–280 new category 3–579
fusing (glossary) 3–681 properties 3–575
FX files select 3–580
path configuration 3–532 global coordinate system manager 3–574
global coordinate system properties 3–575
G global illumination 2–1350, 2–1360, 2–1392, 2–1404,
G-buffer 3–681 3–677
layers (rendering preferences) 3–540 global illumination (mental ray) 2–1380
gamma correction (glossary) 3–682 global lighting (rendered environment) 3–53
gamma preferences 3–550 global raytracer settings dialog 2–1151
general parameters (lights) 2–961 global shadow parameters (Track View) 2–828
general preferences settings 3–537 gloss palette 3–405
general settings rollout glossary 3–649
render to texture 2–1444 glossiness mapping 2–1126, 3–683
gengon 1–170 glow
geographic location dialog 1–338 render effect 3–7
geometric primitives 3–682 go to settings
geometry Material Editor 2–1076
AutoCAD 3–340 time 3–436, 3–445 to 3–446
AutoCADArchitectural Desktop 3–341 goniometric diagrams 2–957
compound objects 1–285 grab viewport 1–33
doors 1–217 gradients
extended primitives 1–157 gradient map 2–1224
file formats 3–135 gradient ramp map 2–1226
geometric primitives 1–139 graph editors menu 3–392
importing 3–135 delete schematic view 3–314
loft object 1–312 delete Track View 2–901
standard primitives 1–141 new schematic view 3–300, 3–314
types of 1–127 new Track View 2–901
windows 1–224 saved schematic views 3–300
GeoSphere 1–147 saved Track View 2–902
get material 2–1069 Track View 2–901
getting started 1–1 Track View - curve editor 2–818
ghosts Track View - dope sheet 2–818
ghost before/after current frame 3–551 graphics driver setup dialog 3–558
ghost in wireframe 3–551 grid
GI (global illumination) 2–1350 autogrid 2–623
GIF files 3–255 grid and snap settings 2–654
gizmo grid nudge distance 3–551
box atmospheric apparatus 3–84 grid setting display 3–438
cylinder atmospheric apparatus 3–85 home grid settings 2–662
gizmo/center (glossary) 3–683 options 2–660
preferences 3–554 snap override 2–658
sphere atmospheric apparatus 3–87 snaps 2–654
types of 3–83
Index 771
user grids settings 2–664 activate Autodesk VIZ 3–628

grid method 2–1425 additional help 3–628
grid method, raytrace acceleration 3–719 hotkey map 3–627
grids 2–649, 3–683 MAXScript reference 3–627
activating 2–650 Autodesk VIZ on the web 3–628
align to view 2–650 tutorials 3–627
aligning to 2–354, 2–357, 2–362 user reference 3–627
and resolution of patch model surface 2–321, 2–325, helper object 3–684
2–333, 2–337, 2–343 helpers 2–618, 2–629
grid and snap settings 2–654 atmospheric apparatus 3–83
grid helper object 2–635 camera match 2–1018
show home grid 2–649 compass 2–642
using 2–619, 2–621 cone angle 2–643
viewing 2–622 dummy 2–631
group menu 1–98, 1–103, 3–386 expose transform 2–632
attach 1–100 exposetm 2–632
close 1–99 grid 2–635
detach 1–100 luminaire 1–105
explode 1–100 manipulators 2–642
group 1–98 plane angle 2–645
open 1–99 point 2–638
ungroup 1–99 protractor 2–641
groups 1–92 slider 2–646
and assemblies 1–93 standard 2–631
and selection sets 1–92, 3–386 tape 2–639
closing nested groups 1–99 VRML97 3–240
detach from 1–104 hide 1–51, 3–684
explode 1–100 hide by category 1–50
smoothing 1–138 hide selection’s layer 3–375
using 3–386 hiding and unhiding 1–51
usingworking with 1–92 by category 1–50, 1–68
by selection 1–67
H edges 2–333
handle display size 3–552 editable spline vertices 1–268
HD IK solver 2–784, 2–786, 2–792, 2–808 to 2–809, 2–811 hide rollout 1–51
to 2–813 hierarchical linkage 3–684
HD solver 2–813 hierarchical subdivision surfaces 2–136
HD Solver 2–786, 2–788, 2–793, 2–796, 2–808 to 2–809, hierarchies
2–811 to 2–812 hierarchical linkage (glossary) 3–684
HDR file format 3–256 joint limits 2–767
HDRI files 3–256 navigating 2–771
head object 1–105 terminology 2–763
head object (glossary) 3–684 using multiple 2–764
hedra 1–158 viewing 2–771
helix 1–252 hierarchy panel 3–494
help 1–ix, 3–619 commands 2–804
about HTML help 3–620 IK 2–808
contents 3–620 link info rollouts 2–816
favorites tab 3–624 pivot 2–805
index 3–620 hierarchy right-click menu (Track View) 2–831
search 3–620 hierarchy window (Track View)
searching for help topics 3–622 placing selected objects 2–896
help menu 3–394 selecting by name 2–896
about Autodesk VIZ 3–628
772 Index
high dynamic range images 3–256, 3–264 ID

high intensity discharge 3–412 material ID channel 2–1073
high intensity discharge light tools IES 2–958
customize heights dialog 3–413 IES sky 2–951
high-resolution rendering 2–1487 IES sun 2–949
highlights IFL files 3–259
anisotropic 2–1116 and view file command 2–1318, 3–114
Blinn 2–1118 IFL manager utility 3–261
metal 2–1119 image file list control dialog 3–261
multi-layer 2–1120 IGES 3–687
Oren-Nayar-Blinn 2–1118 and NURBS surfaces 3–172
Phong 2–1118 export/import log file 3–174, 3–176
specular color 3–733 exporting to 3–177
hinge polygons from edge dialog 2–438 file translation 3–172
history list 3–94, 3–114, 3–303 history 3–172
history-dependent IK solver 2–784 IGES import dialog 3–174
hold (edit menu) 1–91 import table to Autodesk VIZ 3–175
home grid 1–21 log files 3–174
glossary 3–685 overview 3–172
settings 2–662 temporary files 3–174
using 2–620 ignore animation range 2–859
views based on the world coordinate axes 1–21 ignore backfacing 2–350, 2–366, 2–375
horizon (glossary) 3–685 IK
horizontal (move key) 2–887 and control objects 2–781
horizontal bezier handle control 2–890 and set key 2–674
hose 1–176 animating with interactive IK 2–798
hosts file 2–1421 IK joints 2–782
hot (glossary) 3–686 IK solution (glossary) 3–687
hot keys 3–601 to 3–605, 3–608, 3–610 to 3–611, 3–617, preferences 3–542
3–627 IK rollouts 2–808
hotkey map 3–627 auto termination 2–816
hotspot 2–969, 3–473, 3–686 inverse kinematics 2–815
how to (NURBS) object parameters 2–808
fix objects 2–463 IK solvers 2–784, 2–786
improve performance 2–464 illegal video colors 2–1064
make things 2–459 illuminance 3–687
HSDS modifier 2–136, 2–141 illumination maps
HSV (glossary) 3–722 Lightscape import 3–215
HTML help viewer image file formats 3–251
favorites tab 3–624 image file list
keyboard shortcuts 3–625 IFL control dialog 3–261
right-click menus 3–625 IFL manager utility 3–261
searching in 3–622 image motion blur (glossary) 3–688
toolbar 3–624 image sequence 2–1318
using 3–620 images (2D) 3–251
hue/saturation/value (glossary) 3–722 import
file menu 3–100
I IGES files 3–174 to 3–175
i-drop Indicator 3–134 import options 3–231
IAM files import Lightscape Preparation (LP) file dialog 3–221
importing 3–165 importing
ICB targa files 3–276 3DS files 3–141
icons Adobe Illustrator 88 files 3–145
color scheme 3–527
Index 773
and attaching Autodesk VIZ objects 2–484 intensity mapping 2–1162

DDF 3–190 intensity/color/attenuation parameters 2–975
DEM Models 3–190 intensity/color/distribution rollout 2–981
DWG and DXF files 3–147 interactive IK 2–798
DXF files 3–159 interactive manipulation mode 2–378
FBX 3–168 interactive rendering 3–745
IAM files 3–165 internet
IGES files 3–174 access 3–133
IPT files 3–165 connection 3–117
landXML 3–190 internet download dialog 3–130
PRJ files 3–142 interpolation 3–689
scenes 1–14 intersection 3–551
SHP files 3–144 introduction
STL files 3–231 inverse kinematics 2–781
VRML files 3–233 NURBS modeling 2–443
importing geometry 3–135 object selection 1–57
merge or replace scene 3–135 rendering effects 3–2
IMSQ files 3–262 sub-object selection 1–70
incandescent light tools to this reference 3–619
customize heights dialog 3–413 inventor files
incandescent palette 3–412 importing 3–165
include/exclude lights 2–923 inverse kinematics
including layers 3–337 controlling precision 2–788
incremental saves 1–17, 3–548 glossary 3–689
independent 3–172, 3–688 introduction 2–781
index of refraction 2–1097, 2–1133, 2–1138, 2–1160, methods 2–783
2–1244, 2–1274 preferences settings 3–542
indirect illumination 2–1404, 3–714 rollout 2–815
inherit rollout 2–817 terminology 2–782
inheritance 2–779 invert selection 1–82
initial graphics exchange specification (IGES) 3–172, IOR 2–1097, 2–1133, 2–1138, 2–1160, 2–1244, 2–1274
3–687 IPT files
inline (VRML VRML97 helpers) 3–251 importing 3–165
insert iso curves 2–530
time (Track View) 2–878 iso line (glossary) 3–690
vertices 1–266, 1–280 isolate selection tool 1–69
insert keys 2–868 isolate selection’s layer 3–375
inset polygons dialog 2–439 isometric views 1–22
installing isotropic light distribution 2–953
Autodesk VIZ (for network rendering) 2–1476 iteration setting (HD IK solver) 2–788
instance duplicate maps utility 2–1311
instanced modifiers 2–39 J
instanced objects jambs 1–180
AutoCAD 3–355 jitter (antialiasing control) 2–1397, 3–724, 3–726
rendering properties 3–356 to 3–357 job archives
instances 2–2 network job assignment 2–1489
glossary 3–689 network rendering 2–1465
make unique 2–883, 2–885 job dialogs (network rendering) 2–1481
of maps 2–1080 job settings (network rendering) 2–1491
overview 2–2 join dialogs (NURBS) 2–594 to 2–595
propagating materials 3–355 joints
propagation 3–355 activating joint axes 2–802
intensity (light) 2–916, 2–918 joint limits (hierarchies) 2–767
joint parameters 2–800, 2–812
774 Index
joint precedence 2–792 to 2–793, 2–811 moving a group of 2–868

joint resistance and spring back 2–792 moving horizontal and vertical (Track View) 2–887
limiting joint action 2–804 randomize 2–845
path 2–800 randomize utility 2–871
rotational 2–800 reducing 2–881
setting joint precedence 2–792 select 2–819
setting joint resistance 2–792 select by time 2–845, 2–873
setting parameters 2–800 soft selection manager 2–845
sliding 2–800 keys menu
sliding and rotational 2–813 track view 2–843
surface 2–800 keys windows (Track View) 2–822
using default joint precedence 2–793 kinematic chains 2–782, 3–690
JPEG files 3–263 knot (glossary) 3–691
knowledgebase 3–628
K Kodak Cineon 3–253
Kaydara FiLMBOX 3–168, 3–171
KBD files 3–512, 3–525 L
key filters 3–442 L-Ext 1–169
key info L-Extrusion 1–169
Bezier controllers 2–699 l-type stair 1–203
key info rollouts 2–694, 2–696 landXML importer 3–190
master track key info dialog 2–738 landXML/DEM model import dialog 3–191
key mode 3–447 Large BSP method 2–1425
key modes (links) 2–776 lasso selection region 1–78
key tangents toolbar 2–847 lathe
key tools toolbar 2–847 lathe modifier 2–142
keyable icons 2–839 lathe surface (NURBS) 2–552
keyboard lattice modifier 2–144
additional commands 3–381 launch script (glossary) 3–691
creating primitives from 1–140 layer defaults 3–537
keyboard entry rollout 1–140 layer list 3–373
keyboard panel (customize UI) 3–512 layer manager 3–364
keyboard shortcuts 3–512, 3–601 to 3–605, 3–608, 3–610 layer properties dialog 3–369
to 3–611, 3–617 layers 1–108, 3–362
HTML help viewer 3–625 AutoCAD and Autodesk VIZ 3–336
map 3–627 excluding in file linking 3–337
override toggle 3–602 freeze 3–375
keyframe interpolation 2–695 from AutoCAD 3–322
keyframe mode 3–441 from Revit 3–322
glossary 3–690 glossary 3–691
keys hide 3–375
adding 2–869 including in file linking 3–337
aligning 2–866 isolate 3–375
create out of range 2–845 layer list button 3–373
create out-of-range 2–872 layer manager 3–364
delete 2–819, 2–864 layer properties dialog 3–369
editing 2–864 select dialog 3–337
glossary 3–690 layers toolbar 3–397
interpolating 2–695 add selection to current layer 3–374
key mode 3–447 create new layer 3–374
key properties (track bar) 3–432 select objects in current layer 3–374
key statistics (Track View) 2–899 set current layer to selection’s layer 3–374
key time display (Track View) 2–897 layout (viewports) 1–24, 3–588
moving 2–867, 2–887 layout menu (Schematic View) 3–305
Index 775
layout mode and shadows 2–918

glossary 3–691 animating 2–922
legacy DWG import 3–155 atmospheres and effects for 2–979
lens effects 3–4 dolly 3–472
auto secondary 3–19 free area 2–948
blur 3–41 free direct 2–933
brightness and contrast 3–46 free linear 2–946
color balance 3–46 free point 2–944
depth of field 3–50 free spotlight 2–930
file output 3–47 light falloff 3–475
film grain effect 3–49 light include/exclude tool 2–923
glow 3–7 light lister 2–924
manual secondary 3–23 mental ray shadow maps 2–989
ray 3–15 name and color rollout 2–913
ring 3–11 omni 2–934
star 3–27 orbit/pan 3–477
streak 3–31 photometric lights 2–941
lens size (cameras) 2–1003 placing 1–6
level of detail positioning 2–921
VRML97 helpers (LOD) 3–245 properties of 2–916
light distribution roll 3–475
diffuse 2–954 standard 2–927
isotropic 2–953 target area 2–947
spotlight 2–954 target direct 2–931
web 2–955 target linear 2–945
light include/exclude tool 2–923 target point 2–943
light lister 2–924 target spotlight 2–928
light map 3–691 truck 3–476
light painting rollout (radiosity) 2–1370 types of 2–911, 2–941
light parameters using 2–913
mental ray indirect illumination rollout 2–973 viewport controls 3–473, 3–475
mental ray light shader rollout 2–974 working with 2–914
light shader rollout 2–974 lights name and color rollout 2–913
light shaders lights palette 3–412
mental ray 2–974 Lightscape 3–184
light tracer 2–1350 creating geometry for export 3–179
light viewports 1–22, 1–31, 3–471 creating materials for export 3–179
lighting export 3–178
exclude/include dialog 2–965 export Lightscape Block (BLK) file dialog 3–203
general parameters 2–961 export Lightscape Block (BLK) file dialog, general
guidelines 2–919 panel 3–204
in Autodesk VIZ 2–918 export Lightscape Block (BLK) file dialog, lights
lighting analysis 2–1375, 3–79, 3–270 panel 3–206
lighting analysis dialog 2–1376 export Lightscape Layer (LAY) file dialog 3–208
lighting data exporter utility 3–82 export Lightscape Material (ATR) file dialog 3–208
lighting map (baking) 2–1441 export Lightscape Parameter (DF) file dialog 3–209
lights 2–911, 2–941 export Lightscape Preparation (LP) file dialog 3–192,
add default lights to scene 1–46 to 1–47 3–220
advanced effects rollout 2–970 export Lightscape Preparation (LP) file dialog,
and atmospheres 2–980 animation panel 3–197
and effects 2–980 export Lightscape Preparation (LP) file dialog, daylight
and materials 2–1029 panel 3–198
and shading 2–1029
776 Index
export Lightscape Preparation (LP) file dialog, general link constraint 2–750
panel 3–193 link rollouts 1–55, 2–816
export Lightscape Preparation (LP) file dialog, lights link info inherit 2–817
panel 3–195 link info locks 2–817
export Lightscape Preparation (LP) file dialog, views linkage, hierarchical 3–684
panel 3–200 linked file states 3–323
export Lightscape Preparation (LP) file dialog, windows linked objects
panel 3–199 assigning materials to 3–344, 3–353
export Lightscape View (VW) file dialog 3–201 conversion settings 3–327, 3–333
export Lightscape View (VW) file dialog, general selecting when file linking 3–338
panel 3–202 linking
export Lightscape View (VW) file dialog, views and unlinking objects 2–767
panel 3–202 animatable parameters 2–758 to 2–759
exporting animations to Lightscape 3–185 bones to follow objects 2–786
exporting daylight 3–183 end effectors to parent 2–786
exporting standard lights 3–180 strategy 2–764
grouping geometry for export 3–180 linking files 3–323
how objects are converted to Lightscape on links
export 3–189 adding and deleting 2–776
import 3–210, 3–214 and pivots 2–772
import Lightscape Preparation (LP) file dialog 3–221 animating links 2–776
importing Lightscape Preparation (LP) files 3–211 changing link inheritance 2–779
importing Lightscape Solution (LS) files 3–211 displaying 2–767
importing Lightscape View (VW) files 3–211 link inheritance (selected) utility 2–780
keeping original materials when exporting 3–184 main toolbar 2–768
mesh objects 3–214 list
saving camera views for export 3–184 layers 3–373
setting units and scale on export 3–182 list controller 2–716
using relative paths when exporting block (BLK) and named selection sets 1–81
material (ATR) files 3–185 selection filter 1–80
Lightscape import transformation axis coordinate system 1–364
error dialog 3–224 list views (Schematic View) 3–306
illumination maps 3–215 listener
Lightscape Materials utility 3–219 listener window (glossary) 3–692
troubleshooting 3–218 MAXScript listener 3–502
lightscape material 2–1191 load custom UI scheme 3–527
Lightscape Materials utility 3–219 local center during animate 3–546
Lightscape Preparation (LP) files local coordinate system (glossary) 3–692
importing 3–211 local euler XYZ rotation controller 2–718
Lightscape Solution (LS) files 3–218 local illumination 2–1350
importing 3–211 lock
Lightscape View (VW) files lock selection 2–865
importing 3–211 lock time tag 3–439
limit controller 2–709 lock UI layout 3–508
limiting animation ranges 2–709 locking object transforms 2–778
limiting joint action 2–804 selection lock 3–436
line 1–242 lock selection
linear arrays (creating) 2–17 status bar 3–436
linear controller 2–715 Track View 2–865
linear exposure control 3–76 locks rollout 2–817
linear light rollout 2–983 LOD
link VRML97 helpers 3–245
linking drawing files 3–723
Index 777
loft object 1–312 main user interface shortcuts 3–605

creation method rollout 1–313 main window 1–9
deform bevel 1–326 make controller/object unique (Track View) 2–861
deform fit 1–327 make curve on surface dialog 2–588
deform scale 1–323 make loft dialog 2–596
deform teeter 1–325 make material copy 2–1072
deform twist 1–324 make point curve dialog 2–597
deformation dialog 1–328 make point dialog 2–596
deformations 1–322 make preview 2–1065, 2–1451
path commands 1–332 make unique 2–32, 2–39, 2–885, 3–491
path parameters rollout 1–316 Material Editor 2–1072
shape commands 1–332 manage scene states 3–375
skin parameters rollout 1–317 manage scene states dialog 3–377
surface parameters rollout 1–314 manager (network rendering) 2–1471
lofting 3–693 managers (transform) 1–354
shapes 1–234 managing
log file 2–1421, 3–693 files 1–13
log files scenes and projects 3–89
IGES 3–174 manipulator 2–642
logarithmic exposure control 3–77 manipulator helper objects
LogLUV format (TIFF files) 3–82 cone angle 2–643
look at controller 2–718 plane angle 2–645
look-at constraint 2–753 slider 2–646
looping manipulators
animation 2–861 built-in 2–643
animation (Track View) 2–879 to 2–880 select and manipulate 2–643
low pressure sodium light tools manual secondary flares 3–23
customize heights dialog 3–413 mapped material
low res environment background 3–551 glossary 3–696
low-polygon modeling 2–614 mapping
low-pressure sodium palette 3–412 ambient color 2–1122
LS (Lightscape Solution) files 3–218 anisotropy 2–1128
LS colors 2–45 bump 2–1131
LS colors modifier 2–45 coordinates (glossary) 3–696
LS mesh modifier 2–146 cutout 2–1165
LTLI files 3–693 diffuse color 2–1123
lume shaders 2–1284 diffuse level 2–1124
lumen 3–694 diffuse roughness 2–1124
LumeTools shaders 2–1284 displacement 2–1135
luminaire helper object 1–105 filter color 2–1128
luminaires palette 3–415, 3–419 flatten 2–264
luminance 3–694 glossiness 2–1126
luminous flux (glossary) 3–694 map network drive dialog 2–1479
luminous intensity (glossary) 3–694 mapping coordinates 2–1036
lux 3–687 metalness 2–1130
LZF files 3–694 normal 2–265
LZG files 3–694 opacity 2–1127
LZH files 3–694 orientation 2–1129
LZO files 3–694 reflection 2–1132
LZV files 3–694 refraction 2–1133
self-illumination 2–1127
M shininess 2–1126
macro recorder (MAXScript) 3–503 shininess strength 2–1125
main toolbar 3–395
778 Index
specular color 2–1125 RGB tint 2–1265

specular level 2–1125 show in viewport 2–1074
unfold 2–270 smoke 2–1251
maps 2–1236, 2–1421, 3–116 speckle 2–1252
2D 2–1199 splat 2–1252
3D 2–1236 stucco 2–1253
activate all 1–48 swirl 2–1230
camera map per pixel 2–1302 thin wall refraction 2–1274
cellular 2–1238 tiles 2–1232
checker 2–1212 to enhance material 2–1033
color modifier 2–1264 transparency 2–1165
combustion 2–1213 type button (Material Editor) 2–1078
composite 2–1260 vertex color 2–1265
compositor maps 2–1259 waves 2–1254
custom Autodesk VIZ mental ray shaders 2–1283, wood 2–1255
2–1286 to 2–1288, 2–1291 to 2–1295, 2–1299, MapScaler object-space modifier 2–147
2–1301 MapScaler world-space modifier 2–46
cutout mapping 2–1165 marble map 2–1246
deactivate all 1–48 market-specific defaults 3–510
deleting 2–1044 mask map 2–1261
dent 2–1240 mask viewport to safe region 3–551
dragging and dropping 2–1054 masonry palette 3–405
falloff 2–1244 master block parameters dialog (block controller) 2–738
flat mirror 2–1267 master object 2–24
glossary 3–697 master point controller 2–738
gradient 2–1224 material
gradient ramp 2–1226 xref material 2–1192
hierarchy (glossary) 3–699 material assignment
light map 3–691 blocks 3–358
lume shaders 2–1284 material attach options dialog (Boolean objects) 1–305
map bias (glossary) 3–695 Material Editor 2–1039
map channel (glossary) 3–695 bitmap 2–1205
map types 2–1193 maps rollout 2–1100
mapped materials 2–1074 material ID channel 2–1073
maps rollout 2–1100 menu bar 2–1059
marble 2–1246 options dialog 2–1066
mask 2–1261 shortcuts 3–608
mental ray shaders 2–1283 tools 2–1057
mix 2–1261 type button 2–1078
noise 2–1247 material ID
”other” (in the material/map browser) 2–1267, 2–1270 and attaching objects 2–374
to 2–1271, 2–1274, 2–1283 to 2–1284, 2–1286 to and Booleans 1–298
2–1288, 2–1291 to 2–1295, 2–1299, 2–1301 to and editable meshes 2–366
2–1302 and editable patches 2–337
output 2–1264 and editable splines 1–280
Perlin marble 2–1249 glossary 3–698
planet 2–1250 material ID channel
procedural 3–717 flyout 2–1074
projected 2–970 Material Editor 2–1073
raytrace 2–1270 material IDs rollout
reflect/refract 2–1271 Lightscape import 3–215
reflection and refraction 2–1267 material propagation 3–355
RGB multiply 2–1263
Index 779
material shaders rollout pick from object 2–1078

mental ray material 2–1166 propagation 3–355
material studios 3–415 to 3–416 put to library 2–1073
material to shader 2–1293 put to scene 2–1070
material xml exporter utility 2–1037 raytrace 2–1137
material/map browser 2–1042 Revit 3–352 to 3–353
material/map navigator 2–1076 saving 2–1037, 2–1039
materialbyelement modifier 2–149 scene 2–1070
materials 2–1025, 2–1030, 2–1382 select by 2–1069
adding to library 2–1037 shell 2–1187
advanced lighting override 2–1188 shellac 2–1185
and attaching objects 2–374 show end result 2–1076
and blocks 3–357 SSS materials (mental ray) 2–1173
and styles 3–360 standard 2–1093
animating 2–1079 subsurface scattering (SSS) materials (mental
applying to an object 2–1035 ray) 2–1173
applying to objects 2–1039 top-bottom 2–1186
architectural 2–1157 type 2–1027, 2–1086
Architectural Desktop 3–344 to 3–345 type button (Material Editor) 2–1078
assign to selection 2–1071 types of 2–1086
assigning 3–344, 3–353 updating 2–1070
blend 2–1178 using 1–6
blocks 3–358 using maps to enhance 2–1033
changing 3–345, 3–353 matte object (glossary) 3–700
combined when attaching objects/splines 1–266, 2–354 matte/shadow material 2–1174
components 2–1029 MAX file finder utility 3–126
composite 2–1179 MAXScript
compound materials 2–1177 about MAXScript 1–xiv
copying 2–1039 command-line 3–504
default material settings 2–1072 glossary 3–700
deleting 2–1044 listener 3–502
designing 2–1025 MAXScript listener 3–502
DGS material (mental ray) 2–1170 MAXScript reference 3–627
double-sided 2–1181 menu 3–394
dragging and dropping 2–1054 mini listener 3–428
editable 2–1157 open MAXScript 3–502
exporting 2–1037 preferences settings 3–556
get 2–1069 run script 3–502
getting from library 2–1039 running scripts from asset browser 3–117
glass (mental ray) 2–1172 MAXScript debugger dialog 3–503
glossary 3–699 MAXScript menu 3–394
hierarchy (glossary) 3–699 macro recorder 3–503
ID channel 2–1073 MAXScript listener 3–502
lightscape 2–1191 new script 3–501
loading from scene 2–1039 open script 3–502
make copy 2–1072 run script 3–502
material modifier 2–148 measure distance 2–631
material name field 2–1078 measuring 2–629, 2–639, 2–665
material properties rollout (NURBS) 2–511 memory management 3–129
matte/shadow 2–1174 memory use 2–1425
mental ray 2–1166 mental ray
multi/sub-object 2–1182 add/edit DBR host dialog 2–1424
name 2–1026, 2–1039 DGS material 2–1170
780 Index
distributed bucket rendering 2–1424 menu bar

distributed bucket rendering rollout 2–1421 curve editor 2–835
glass material 2–1172 dope sheet 2–835
material 2–1166 Material Editor 2–1059
object properties 1–116 Track View 2–835
satellite processors 2–1424 menus
satellites 2–1421 animation 3–391
subsurface scattering materials 2–1173 controller 2–841
mental ray Connection rollout 2–1090 create 3–387
mental ray indirect illumination rollout 2–973 customize 3–393
mental ray light shader rollout 2–974 edit 3–385
mental ray material file 3–385
advanced shaders rollout 2–1169 graph editors 3–392
material shaders rollout 2–1166 group 3–386
mental ray materials 2–1165 help 3–394
mental ray messages 2–1421 material editor copy and paste 2–1048
mental ray renderer 2–1377, 3–677 MAXScript 3–394
contour shading 2–1396 menu bar 3–384
diagnostic tools 2–1420 menus panel (customize UI) 3–517
displacement shading 2–1395 modifiers 3–389
feature enhancements 2–1384 rendering 3–393
FGM file 3–674 Schematic View 3–304
final gather map 3–674 tools 3–385
materials 2–1165 views 3–386
messages window 2–1386 merge 3–97
MI files 3–700 custom sections 2–229
object properties 1–116 effects 3–4
PASS file 3–712 merge dialogs 2–1083, 3–97, 3–291 to 3–292
photon map 3–714 scenes 1–14
preferences 3–545 shapes 2–229
processing panel 2–1386 merge from file
shadow map rollout 2–989 sweep modifier 2–229
volume shading 2–1393 mesh
mental ray shaders 2–1090, 2–1281, 2–1283 editable mesh 2–350
3D displacement 2–1286 mesh select modifier 2–151
bump shader 2–1287 meshsmooth modifier 2–153
connect parameter to shader dialog 2–1285 turbosmooth modifier 2–237
custom Autodesk VIZ shaders 2–1283 working with mesh sub-objects 2–353
dgs material shader 2–1288 mesh objects
dielectric material shader 2–1291 faces sub-object 3–215
environment shader 2–1292 Lightscape 3–214
material to shader 2–1293 meshing parameters rollout (radiosity) 2–1367
shader list 2–1294 meshsmooth modifier 2–153
third-party shaders 2–1282 meshsmooth selection dialog 2–439
uv coordinate 2–1299 messages 2–1421
uv generator 2–1295 metal highlights 2–1119
uv generator parameters rollout 2–1295 metal palette 3–405
uv generator shaders rollout 2–1298 metal shader 2–1105
XYZ coordinate 2–1301 metalness mapping 2–1130
XYZ generator 2–1299 methods (IK) 2–783
XYZ generator parameters rollout 2–1300 MI file 2–1415, 2–1421
XYZ generator shaders rollout 2–1301 MI files 3–700
middle button pan/zoom (viewports preferences) 3–551
Index 781
MIDI time slider control (animation preferences) 3–546, displace mesh (world space) 2–42
3–567 displace NURBS (world space) 2–43
mini listener (MAXScript) 3–428 edit mesh 2–74
mini Track View (track bar) 3–432 edit patch 2–74
mirror 1–375 edit poly modifier 2–76
main toolbar 1–375 edit spline 2–126
mirror curve (NURBS) 2–522 extrude 2–127
mirror dialog 1–375 face extrude 2–128
mirror modifier 2–159 FFD 2–129, 2–132
mirror surface (NURBS) 2–549 fillet/chamfer 2–134
mirroring joint parameters 2–812 free-form deformation 2–129, 2–132
mirroring objects 2–21 glossary 3–701
splines 1–280 HSDS 2–136, 2–141
mirror dialog 1–375 instanced 2–38 to 2–39
missing external files dialog 3–116 lathe 2–142
missing map coordinates dialog 2–1198 lattice 2–144
missing XRef paths dialog 3–300 list of 2–27
mix map 2–1261 LS colors (world space) 2–45
MNU files 3–515, 3–517, 3–525 LS mesh 2–146
modal (glossary) 3–701 make controller unique 2–861
modeless (glossary) 3–701 MapScaler (object space) 2–147
modeling MapScaler (world space) 2–46
objects 1–5, 2–212 material 2–148
modes materialbyelement 2–149
Track View 2–835 mesh select 2–151
modes menu meshsmooth 2–153
curve editor and dope sheet 2–835 mirror 2–159
modifier list 3–480 multires 2–160
modifier sets menu 3–492 noise 2–164
modifier stack 3–481 normal 2–167
collapsing 2–32 normalize spline 2–168
editing 2–32 NSurf sel 2–169
glossary 3–701 object space 2–51
modifier stack rollout 2–30 patch select 2–172
right-click menu 3–487 PatchDeform 2–47, 2–175
using 2–30 PathDeform 2–47, 2–176
using at sub-object level 2–36 poly select 2–179
modifiers 2–23, 2–27, 2–50 to 2–51 preserve 2–182
affect region 2–52 push 2–185
and AutoCAD object transforms 3–341 relax 2–186
and transforms 2–28 renderable spline 2–188
bend 2–53 ripple 2–189
bevel 2–55 shell 2–191
bevel profile 2–58 skew 2–195
camera correction 2–1019 slice 2–196
camera map 2–41, 2–60 smooth 2–199
cap holes 2–62 spherify 2–200
conversion 2–240 to 2–241, 2–243 spline select 2–201
CrossSection 2–63 squeeze 2–202
delete mesh 2–66 STL check 2–204
delete patch 2–67 stretch 2–206
delete spline 2–67 substitute 2–210
displace 2–69 surface 2–212
782 Index
surface mapper (world space) 2–50 objects (basics) 1–125

SurfDeform 2–51, 2–218 more palette info dialog 3–425
sweep 2–218, 2–227 to 2–228 more tool info dialog 3–426
symmetry 2–231 motion blur 2–1388, 2–1400, 2–1411, 3–50, 3–688, 3–706,
taper 2–232 3–726
tessellate 2–234 motion panel 2–691, 2–694, 2–696, 2–788, 3–495
topology dependent 3–739 mounting a directory (network rendering) 2–1479
trim/extend 2–235 mouse sensitivity 3–551
turbosmooth 2–237 MOV files 3–263
turn to mesh 2–240 move button (select and move) 1–360
turn to patch 2–241 move keys (Track View)
turn to poly 2–243 curve editor 2–887
turn-to modifiers 2–240 to 2–241, 2–243 dope sheet 2–867
twist 2–245 edit keys 2–867
unwrap UVW 2–247 function curves 2–887
UVW map 2–274, 3–345, 3–354 move mode 1–360
UVW Xform 3–345, 3–354 moving
UVW XForm 2–285 cameras 1–6
vertexpaint 2–286 keys 2–867 to 2–868
volume select 2–303 lights 1–6, 2–922
wave 2–307 objects 1–345
world space 2–41 through time 2–680
WSM 2–41 to first frame 3–445
XForm 2–309 to last frame 3–446
modifiers menu 2–46, 3–389 to next frame 3–446
animation modifiers 2–51, 2–175 to 2–176, 2–218 to previous frame 3–445
free-form deformers 2–129, 2–132 to transform keyframes 3–447
mesh editing 2–62, 2–66, 2–74, 2–127 to 2–128, 2–167, MPEG files 3–264
2–170, 2–199, 2–204, 2–231, 2–234, 2–286 MSP files 3–702
nurbs editing 2–51, 2–68, 2–218, 2–465 multi-layer basic parameters 2–1106
parametric deformers 2–52 to 2–53, 2–69, 2–144, multi-layer highlights 2–1120
2–159, 2–164, 2–182, 2–185 to 2–186, 2–189, multi-level shader 2–1128
2–195 to 2–196, 2–200, 2–202, 2–232, 2–245, multi-pass parameters (cameras)
2–307, 2–309 depth of field 2–1012
patch/spline editing 2–63, 2–67, 2–74, 2–126, 2–134, multi-pass rendering effects 2–1377
2–142, 2–168, 2–212, 2–218, 2–227 to 2–228, multi-pass rendering effects (cameras) 2–1011
2–235 multi/sub-object material 2–204, 2–1182
radiosity modifiers 2–50, 2–209 multi-threading 3–540
selection modifiers 2–151, 2–172, 2–201, 2–303 multi-view
subdivision surfaces 2–153, 2–209 blocks 3–358
surface 2–68, 2–148 to 2–149 multicurve trim surface 2–576
UV coordinates 2–41, 2–50, 2–60, 2–274, 2–285 multiplicity (glossary) 3–702
modify child keys 2–838 multiplier (glossary) 3–702
modify child keys (Track View) 2–828 multiplier curve
modify datum dialog 3–576 applying 2–891
modify ellipsoid dialog 3–577 deleting 2–892
modify global coordinate system dialog 3–577 enable toggle 2–892
modify panel 2–28, 3–480 glossary 3–703
modify subtree (Track View) 2–828, 2–833 multiplier out-of-range types (Track View) 2–894
modifying MultiRes modifier 2–160
at sub-object level 2–35 multiresolution adaptive antialiaser 2–1156
multiple objects 2–38 multisided blend surface 2–575
NURBS models 2–446 multithreading and rendering 3–542
Index 783
MVBlocks 3–358 new Track View 2–901

new category dialog 3–579
N new feature in 2007 2–82, 2–84 to 2–85, 2–100, 2–379,
N blend surface 2–575 2–382, 2–404, 2–433, 2–435, 2–709, 2–859, 2–868,
name 2–887, 2–990, 2–1060, 2–1192, 2–1338, 2–1340,
object name 3–479 2–1400, 2–1402, 2–1424, 2–1427, 2–1433, 2–1442,
name and color rollout 3–479 2–1445, 2–1496, 3–93, 3–102, 3–109, 3–129, 3–148,
for lights 2–913 3–150, 3–262, 3–264 to 3–265, 3–268, 3–283 to 3–284,
named selection sets 1–63, 1–81, 1–85, 2–36 3–286, 3–289 to 3–290, 3–293, 3–297, 3–392, 3–503,
names 3–548, 3–554
material 2–1026 new preset 3–335
selecting by (Track View) 2–896 new settings preset dialog 3–335
naming layers 3–362 new Track View 2–901
naming materials 2–1039 next frame 3–446
natural light 2–919 next key 3–446
navigating NGon 1–248
3D space 1–19 node (glossary) 3–704
blocks 3–359 node track (glossary) 3–704
camera and light views 1–31 noise
hierarchies 2–763, 2–771 and terrain effects 2–165
rendered panorama 2–1456 noise controller 2–720
navigator (material/map) 2–1076 noise map 2–1247
NavInfo (VRML97 helpers) 3–242 noise modifier 2–164
nested expressions (HTML help viewer) 3–622 noise rollout (2D) 2–1204
net render control (common parameters rollout) 2–1379 noise threshold 2–1224, 2–1226, 2–1247, 3–62, 3–68
network plug-in configuration 3–536 non-vertical jambs 1–180
network rendering 2–1465, 2–1467, 3–720 nonrelational NURBS surfaces 2–481
advanced settings 2–1489 nonscaling object size 3–551
backburner 2–1465 normal mapping 2–263, 2–265
configuration 2–1467 normal projected curve 2–531
email notification 2–1487 normalize spline modifier 2–168
error messages 2–1473 normals 1–136 to 1–137
glossary 3–704 adjusting 1–136
how it works 2–1470 aligning 1–392, 2–626, 2–805
installing Autodesk VIZ for 2–1476 flipping 1–137
job dependencies 2–1486 normal modifier 2–167
job dialogs 2–1481 scaling vertex and face 2–350
job handling 2–1489 unifying 1–137
job settings 2–1491 viewing and changing 1–137
manager 3–703 note keys 2–863
per-job timeouts 2–1489 note track 2–863 to 2–864
pre-render MAXScript 2–1489 NSurf sel modifier 2–169
pre-render scripts 2–1465 nth serial numbering 3–540
server (glossary) 3–704 NTSC 3–540, 3–705
set up 2–1467 numeric calculator 1–10
setting up 2–1476 numerical expression evaluator 1–10
single computer 2–1463 NURBS
starting 2–1471 and animation 2–455
TCP post number 2–1489 and modifiers 2–454
troubleshooting 2–1473 blend curve 2–520
new blend surface 2–545
new command (file menu) 3–90 cap surface 2–557
new Schematic View 3–314 chamfer curve 2–523
new script 3–501
784 Index
concepts 2–456 glossary 3–705

creating models 2–459 making rigid imported surfaces independent 3–172
curve approximation 2–600 surface approximation 2–601
curve fit 2–519 NURMS 2–153, 2–357
curve point 2–582
CV curve 2–475 O
CV surface 2–468 object color dialog 1–130
definition 2–456 object data flow 2–24
extrude surface 2–550 object display 1–49
fixing problems with models 2–463 object display culling 1–56
glossary 3–705 keyboard shortcuts 3–610
improving performance 2–464 object instance 3–706
introduction 2–443 object motion blur (glossary) 3–706
lathe surface 2–552 object parameters rollout 2–808
mirror curve 2–522 copying/pasting/mirroring joint parameters 2–812
mirror surface 2–549 position/orientation/bind to follow 2–809
offset curve 2–521 precedence 2–811
offset surface 2–548 sliding and rotational joints 2–813
point 2–581 object properties 1–107, 2–1380
point curve 2–471 advanced lighting panel 1–114
point point 2–581 edit menu 1–107
point surface 2–466 general panel 1–108
ruled surface 2–555 mental ray panel 1–116
shortcuts 3–608 user defined panel 1–117
sub-object clone options dialog 2–599 object selection (introduction) 1–57
surf point 2–584 object space 3–707
surface approximation 2–601 object space modifiers 3–707
tips 2–459, 2–464 object transforms 2–777 to 2–778
transform curve 2–519 object-layer relationships 3–362
transform surface 2–544 object-space modifier 2–51
U and V iso curves 2–530 MapScaler 2–147
U loft surface 2–558 objects 1–125, 2–921
using toolbox to create sub-objects 2–448 aligning 2–624
working with models 2–445 arraying 2–14
NURBS curves 2–470 binding 2–786
creating from splines 2–479 color 1–130
fillet 2–526 combining 1–298
glossary 3–705 copies/instances/references 2–2
NURBS models 2–443 creating 1–128
creating 2–444 exporting 3–101
creating sub-objects 2–446 freezing and unfreezing 1–66
dependent sub-objects 2–452 glossary 3–706
display controls for 2–482 make controller unique (Track View) 2–861
glossary 3–705 modeling 1–5
modifying 2–446 modifying multiple objects 2–38
objects and sub-objects 2–443 moving and rotating 1–345
overview 2–445 object properties 1–108
sub-object selection 2–449 properties 1–107
working with 2–445 scaling 1–346
NURBS surfaces 2–465 select and manipulate 2–643
and IGES 3–172 select and move 1–360
creating from geometric primitives 2–480 select and rotate 1–360
display line parameters 2–483 selecting 1–57, 1–73
selecting by material 2–1069
Index 785
techniques for cloning 2–3 constraint 2–756

objects to bake rollout 2–1445 mapping 2–1129
obsolete file alert 3–94, 3–548 origin (glossary) 3–709
odd/even 3–540 origin point helper 3–330
offset origin slider 3–537
offset curve 2–521 ortho snapping mode 1–372
offset point 2–581 orthographic view 3–710
offset surface 2–548 orthographic views 1–22
offset/absolute coordinate display 3–437 out-of-range
oiltank (extended primitive object) 1–165 keys (Track View) 2–872
omni light 2–934, 3–708 types 2–861, 2–893 to 2–894, 3–710
omnidirectional light 3–708 outline 1–280
on/off controller 2–721 output map 2–1195, 2–1264
online reference output rollout 2–1195, 2–1446
introduction 3–619 overlapping vertices and editable rollout (for object and
searching in 3–622 sub-objects) 1–261
using HTML help viewer 3–620 overlays
online support 3–628 xref scenes 3–293, 3–297
opacity 2–1113 overriding (degradation) 1–32
falloff (glossary) 3–708 overshoot (glossary) 3–711
mapping 2–1127 overview of Autodesk VIZ 1–1
open
assembly 1–103 P
file (file menu) 3–91 pack UVs dialog 2–266
from vault 3–93 paint (vertexpaint modifier) 2–286
group (group menu) 1–99 paint deformation rollout 2–429
new bitmap file 2–1209 brush options 2–302
script (MAXScript menu) 3–502 paint palette 3–405
open from vault 3–93 paint selection region 1–79
open recent 3–94 paint weights 2–302
OpenEXR files paintbox
format 3–264 vertexpaint modfier 2–291
opening 3–268 painter options 2–302
saving 3–265 PAL 3–540, 3–711
OpenGL driver 3–558, 3–561 palette
opening screen 1–16 vertexpaint modifier 2–299
operands 1–298, 3–709 palette properties dialog 3–425
optimizations rollout 2–990 paletted 3–540
optimize modifier 2–170 pan
options 3–546 panning views 1–27
grid and snap 2–660 Track View 2–899
Material Editor 2–1066 viewport controls 3–465
rendering 3–540 pan view 3–465
viewports 3–551 panels
options menus (Schematic View) 3–306 to 3–307 create 3–479
orbit/pan customize UI 3–512 to 3–513, 3–515, 3–517, 3–519
camera 2–1010, 3–470 to 3–520
light 3–477 display 3–496
Oren-Nayar-Blinn basic parameters rollout 2–1107 hierarchy 3–494
Oren-Nayar-Blinn highlights 2–1118 modify (command panel) 2–28, 3–480
organic surfaces 2–212 motion 3–495
orientation render scene 2–1360, 3–3
changing 1–341 scripted utility 3–727
utilities (command panel) 3–499
786 Index
panorama exporter 2–1453 while running Autodesk VIZ 3–636

render setup dialog 2–1454 Perlin marble map 2–1249
viewer 2–1456 perspective
parallel projection 1–22 and orthographic viewport controls 3–460
parameter (glossary) 3–711 glossary 3–713
parameter curve out-of-range types (Track View) 2–861 matching 2–1009
parameter space (glossary) 3–711 viewport control 3–468
parameter wiring 2–758 to 2–759 perspective view 1–22
parameters Phong highlights 2–1118
HD Solver 2–808 Phong shader 2–1105, 2–1107
parametric (glossary) 3–711 photometric lights 1–6, 2–911, 2–941
PASS file area light sampling rollout 2–983
mental ray renderer 3–712 common lamp values 2–960
paste data file 2–958 to 2–959, 2–984
a material, map, bitmap, or color 2–1048 example of photometric data file 2–959
paste controller (Track View) 2–856 free area light 2–948
paste tangent handles 1–268 free linear light 2–946
paste time/track (Track View) 2–877 free point light 2–944
pasting joint parameters 2–812 IES standard file format 2–958
patch (glossary) 3–712 linear light rollout 2–983
patch grids 2–346 photometric webs 2–957
quad patch 2–347 preset lights 2–942
tri patch 2–349 target area light 2–947
patch select modifier 2–172 target linear light 2–945
patch surfaces 2–212, 2–346 target point light 2–943
copying 2–316 web 2–957
deleting 2–316 web parameters 2–984
PatchDeform photometry 3–714
object-space modifier 2–175 photon map 3–714
world-space modifier 2–47 photon maps 2–1392, 2–1404
path constraint 2–745 photorealistic renderer 2–1343
path joints 2–802, 2–804 physical scale 3–74, 3–76 to 3–77, 3–79
PathDeform PIC file format 3–256
object-space modifier 2–176 PIC files 3–82, 3–270
world-space modifier 2–47 pick material from object 2–1078
paths ping-pong (playback direction setting) 3–446
and AutoCAD xrefs 3–330 pivot door 1–222
and XRefs 3–296, 3–300 pivot points 2–805
configuring paths 1–13 glossary 3–715
configuring system paths 3–531 use pivot point center 1–367
configuring user paths 3–529, 3–532 to 3–535 using 2–38
glossary 3–712 pivoted window 1–231
moving a camera along 2–1010, 2–1020 pivots
path commands (loft objects) 1–332 adjust pivot rollout 2–805
path parameters rollout 1–316 adjust transform rollout 2–807
pattern background 2–1063 adjusting 2–769
per-pixel camera map 2–1302 and links 2–772
per-pixel camera projection 2–1302 resetting 2–769
percent snap 2–653 pixel 3–715
performance 2–1404, 2–1425, 3–719 pixel data (rendered frame window) 2–1320
and weight painting 2–303 place highlight 1–394, 2–921
controlling display performance 1–26 planar
improving in NURBS 2–464 constraints 1–370 to 1–371
Index 787
make edges 2–362 parameters (motion panel) 2–694

make vertices 2–357 pre-render scripts
threshold 2–151, 2–350 advanced settings 2–1465
plane 1–156 command-line rendering 2–1496
plane angle manipulator 2–645 network rendering 2–1481
planet map 2–1250 precedence 2–811
plastic palette 3–405 child-to-parent 2–794
plate match 2–1343 glossary 3–717
play selected 3–445 parent-to-child 2–795
playback speed 2–680 setting manually 2–796
playing precedence, and keyboard shortcuts 3–602
animated material previews 2–1079 precision and drawing aids 2–617
animation 3–445 preferences 3–536
preview 2–1065 animation 3–546
plug-ins asset browser 3–130
color selector (general preferences) 3–537 files 3–548
glossary 3–716 gamma 3–550
help 3–628 general settings 3–537
plug-in manager 3–508 gizmos 3–554
sharing over a network 3–536 inverse kinematics 3–542
third-party 3–628 MAXScript preferences 3–556
user path configuration 3–535 mental ray renderer 3–545
plugin.ini file 1–16, 3–628 MIDI time slider control 3–567
PMAP file 3–716 preference settings dialog 3–537
PNG file 3–271 Autodesk VIZ preferences 3–544
point 2–581 radiosity settings 3–543
glossary 3–716 rendering 3–540
helper object 2–638 Schematic View 3–307
sub-object 2–450, 2–581 strokes 3–593, 3–598
point curve 2–471 texture coordinates 3–537
glossary 3–716 viewports 3–551
on surface 2–537 premultiplied alpha 3–276
sub-object 2–517 premultiplied alpha (glossary) 3–717
point point 2–581 preserve map channels dialog 2–440
point surface 2–466 preserve modifier 2–182
glossary 3–716 preset height 3–413
sub-object 2–543 preset lights 2–942
point3 XYZ controller 2–706 preset rendering options 2–1330
polar snapping mode 1–373 preset views 1–22
poly select modifier 2–179 presets 2–1330, 3–335
polygon counter 2–614, 3–239 rendering 2–1330
polyhedra 1–158 preview
position animated material previews 2–1079
changing 1–341 make 2–1065
controlling 2–690 play 2–1065
ranges (Track View) 2–882 renderings 2–1451
position constraint 2–748 save 2–1065
position ranges (Track View) 2–882 previewing
position XYZ controller 2–722 Shockwave 3D files 3–230
position/orientation/bind to follow object 2–809 W3D files 3–230
position/rotation threshold (IK) 2–788 previous frame 3–445
position/rotation/scale (PRS) previous key 3–445
controller (Track View) 2–723
788 Index
primitives PSD file 3–271

creating with keyboard 1–140 pseudo color exposure control 3–79
extended 1–157 publish Shockwave 3–225
standard 1–141 publishing to
print setup (file menu) 3–113 3D DWF 3–139
print size wizard 2–1331 push
print viewport (file menu) 3–114 modifier 2–185
prism 1–175 put material to scene 2–1070
PRJ files 3–142, 3–650 put to library 2–1073, 2–1084
problems 3–629 pyramid 1–153
problems caused by unit settings 3–639
procedural maps Q
dent 2–1240 QOP files 3–522, 3–525
glossary 3–717 quad menu
wood 2–1255 Schematic View 3–314
process options rollout 2–1421 quad menus 2–447, 2–846, 3–399, 3–401, 3–515, 3–522
processing panel animation 3–402
mental ray 2–1386 quad patch 2–347
processing parameters rollout (radiosity) 2–1363 quads panel (customize UI) 3–515
product support 3–628 quadtree 3–718
program window 1–9 quaternions 2–707
project file format 3–142 queue manager 3–719
project workflow in Autodesk VIZ 1–1 queue monitor
projected window 1–232 client (glossary) 3–719
projection - preferences 3–551 quick align 1–392
projector light 2–970, 3–718 quick render 2–1330
projects - managing 3–89 quick start (batch rendering) 2–1463
prompt line 3–428 quickslice 2–88, 2–96, 2–105, 2–112, 2–121, 2–388, 2–396,
propagate materials to instances 3–355 2–409, 2–416, 2–425
propagation QuickTime movies 3–263
blocks 3–355
instances 3–355 R
materials 3–355 radial dialogs
styles 3–355 density 3–37
properties falloff 3–38
animation controllers 2–832 size 3–40
changing layer properties 3–374 radiance file format 3–256
controller (Track View) 2–870 radiance map 3–256
dialog (Track View) 2–832 radiance picture files 3–270
file menu 3–112 radiosity 2–918, 2–1350
of light 2–916 and animation 2–1360
viewports 3–453 and architectural materials 2–1162
waveform controllers 2–832 choosing radiosity 2–1350
protractor helper object 2–641 controls 2–1360
ProxSensor (VRML97 helpers) 3–241 how it works 2–1355
proxy object light painting rollout 2–1370
XRef object 3–299 lighting analysis 2–1375
proxy object rollout lighting analysis dialog 2–1376
XRef object 3–299 meshing parameters rollout 2–1367
PRS preferences settings 3–543
PRS controller (Track View) 2–723 processing parameters rollout 2–1363
PRS parameters 2–694 rendering parameters rollout 2–1371
PS files 3–254 skylight 2–935
statistics rollout 2–1375
Index 789
workflows 2–1357 texture surface 2–598

radiosity solution 2–1350, 2–1355 recorder (MacroRecorder) 3–503
railing 1–180, 1–188 recouple ranges (Track View) 2–883
RAM player 3–278, 3–280 _recover.max files 1–18
randomize keys 2–845 recovered file 1–18
randomize keys utility (Track View) 2–871 rectangle 1–244
ranges rectangular area light 2–939
editing 2–882 rectangular region 3–464
positioning 2–882 rectangular selection region 1–77
realigning with keys 2–883 recursion depth 2–1152
recoupling 2–883 recycled materials 3–407
ranges toolbar red/green/blue (glossary) 3–722
Track View - dope sheet 2–852 redo 1–34, 1–89 to 1–90
ray redraw all views 1–48
render effect 3–15 reduce keys (Track View) 2–881
ray tracing 2–1380, 2–1413 reference 1–ix
ray-traced reference coordinate system 1–356, 1–364, 3–537
reflections and refractions 2–1387 reference documentation 3–627
shadows 2–1388, 2–1411, 3–730 references 2–2, 2–885
ray-traced shadows glossary 3–722
glossary 3–720 overview 2–2
parameters 2–992 using XRefs 3–280
ray-trace bias (glossary) 3–720 refine
RAYHOSTS file 2–1421, 3–720 editable spline segments 1–275
specifying name and path 2–1421 editable spline vertices 1–268
raytrace glossary 3–723
acceleration parameters 2–1154 refining curves and surfaces (concept) 2–456
adaptive antialiaser dialogs 2–1155 reflect/refract map 2–1271, 2–1382
attenuation rollout 2–1278 reflectance display 2–1060
basic material extensions rollout 2–1279 reflection maps 2–1132, 2–1267
basic parameters rollout 2–1138 reflections 2–1387
extended parameters rollout 2–1143 refraction maps 2–1133, 2–1267
global settings 2–1151 refractions 2–1387
map 2–1270 refresh viewport display 1–48
map and material 2–1154 regathering 2–1360
maps rollout 2–1147 region 1–62
material 2–1137 selection 1–62, 1–76 to 1–79
messages 2–1151 selection method (edit menu) 1–83
raytracer controls rollout 2–1146 selection preferences 3–592
refractive material extensions rollout 2–1280 zoom region (viewport control) 3–464
raytrace acceleration 2–1413, 3–719 region net render 2–1487
parameters for BSP method 2–1425 register today 3–628
parameters for Grid method 2–1425 relative snap 2–651, 2–654
parameters for Large BSP method 2–1425 relax dialog 2–441
raytrace map 2–1382 relax mesh 2–321
raytrace material 2–1380, 2–1382 relax modifier 2–186
raytracer parameters rollout 2–1276 relax tool dialog 2–266
raytracing acceleration parameters dialog 2–1154 relaxing texture coordinates 2–266
real time (glossary) 3–721 remove
real-world mapping (glossary) 3–721 ease or multiplier curve (Track View) 2–892
rebuild dialogs note track (Track View) 2–864
CV curve 2–597 remove note track 2–864
CV surface 2–598 rename objects tool 1–118
790 Index
rename preview 2–1453 don’t alias against background 3–540

rename settings preset dialog 3–336 elements separately 2–1433
render email notification 2–1339
blowup 2–1326 large images 3–542
common parameters rollout 2–1334 on multiprocessor systems 3–542
dialogs 2–1084, 2–1316, 2–1322, 3–276 portions of scene 2–1009
presets 2–1330 preferences settings 3–540
render scene 2–1316, 2–1325 presets 2–1330
render type list (main toolbar) 2–1326 render farms 2–1470
rendered output 3–53 rendering method 3–586
rendering elements separately 2–1426 scene 1–8
scripts rollout 2–1340 shapes 1–234
selected objects 2–1326 to texture 2–1437, 2–1440, 2–1443
to texture 2–1437 watermark parameters 2–1349
vertex coloring 2–1265 with caustics (mental ray) 2–1380
VUE files 2–1426 with global illumination (mental ray) 2–1380
render bounding box/selected dialog 2–1329 with motion blur 2–1388
render effects 2–828, 3–2 to 3–4, 3–7, 3–11, 3–15, 3–19, with shadow maps 2–1388
3–23, 3–27, 3–31, 3–41, 3–46 to 3–47, 3–49 to 3–50 rendering algorithms rollout 2–1413
render elements 2–1426, 2–1433 rendering commands
render scene dialog render last 2–1331
advanced lighting panel 2–1350 rendering effects
common panel 2–1333 multi-pass (cameras) 2–1011
render panel 2–1316 rendering for print 2–1487
renderer panel 2–1342 rendering menu 3–393
render shortcuts toolbar 3–397 advanced lighting 2–1350
render to texture 2–1437, 2–1440, 2–1443, 2–1445 to effects 3–2
2–1446, 2–1448 to 2–1450 environment 3–52 to 3–53
render to texture dialog 2–1443 lighting analysis 2–1376
add texture elements dialog 2–1450 Material Editor 2–1039
automatic mapping rollout 2–1449 material/map browser 2–1042
baked material rollout 2–1448 print size wizard 2–1331
general settings rollout 2–1444 radiosity 2–1360
objects to bake rollout 2–1445 RAM player 3–278
output rollout 2–1446 raytrace global exclude 2–1154
renderable spline modifier 2–188 raytrace settings 2–1151
rendered frame window 2–1318 render 2–1325
rendered output 2–1456 render scene 2–1325
renderer render to texture 2–1443
configure preset dialog 2–1339 show last rendering 2–1331
renderer panel rendering parameters rollout (radiosity) 2–1371
render scene dialog 2–1342 rendering properties
renderers 2–1341, 2–1343, 2–1426 family elements 3–356
interactive 3–745 instanced objects 3–356 to 3–357
panorama exporter 2–1453 renderingmenu
photorealistic 3–726 panoramic exporter 2–1453
scanline 3–726 reparameterize dialog 2–598
viewport 3–745 repathing 3–102
rendering 2–1315, 2–1379 replace (file menu) 3–99
and multithreading 3–542 replace dialogs 2–1085, 3–99
batch 2–1456, 2–1462 to 2–1463 replace keys 2–887
command line 2–1493, 2–1496, 2–1499 replacing scenes 1–14
commands 2–1324
Index 791
requirements NURBS 2–447

system (see Installation Guide) 1–xii sample slot 2–1052
rescale world units utility 2–666 Schematic View selection 3–314
reset 3–91 snaps 2–654
reset background transform (viewport image) 1–43 spinner 2–675
reset material settings to default 2–1072 Track View 2–831, 2–846
reset XForm (transform) utility 1–359, 2–777 Track View toolbar 2–907
reset position 3–341 viewports 3–453
reset tangents 1–268 XRef entities list (XRef object dialog) 3–290
resolution XRef files list (XRef object dialog) 3–289
glossary 3–723 rigid surfaces (NURBS) 2–454
resolve externally referenced file dialog 3–337 ring
resource collector utility 3–127 render effect 3–11
resource information dialog 3–133 ringwave 1–173
respect animation range 2–860 ripple
restore modifier 2–189
active view (views menu) 1–35 RLA files 3–273
to default settings (animation controllers) 3–546 RMAT materials
restrict to axis buttons 1–368 to 1–369 in Autodesk VIZ 3–345
restrict to plane buttons 1–370 roll angle manipulator 2–965
restrict to plane flyout 1–370 roll viewport controls
restrict to x 1–368 camera 3–469
restrict to xy plane 1–370 light 3–475
restrict to y 1–369 rollout
restrict to yz plane 1–371 distributed bucket rendering 2–1421
restrict to z 1–369 rollouts 1–10, 2–805, 2–808
restrict to zx plane 1–371 inverse kinematics 2–815
reverse time (Track View) 2–878 maps 2–1100
revert to startup UI layout 3–529 materials 2–1096
reviewing and editing strokes 3–597 paint deformation 2–429
Revit rotate 1–360
files 3–346 rotating
materials 3–352 editable mesh edges 2–362
objects 3–346 lights 2–922
settings 3–349 objects 1–345
workflow 3–351 views 1–27
Revit material rotation
Autodesk VIZobjects 3–355 controlling 2–690
RGB (glossary) 3–722 increment (viewport preference) 3–551
RGB files 3–276 rotational joints 2–804, 2–813
RGB maps rotoscoping (glossary) 3–723
multiply 2–1263 roughness 2–1115
tint 2–1265 roughness mapping 2–1124
right-click menus 3–399 RPF files 3–274
additional quad menus 3–401 RPS files 2–1330
animation 3–402 rubber palette 3–405
customize display 3–507 ruled surface sub-object 2–555
display option 3–551 run script 3–502
display preference setting 3–551 RVT link 3–723
HTML help viewer 3–625
material editor copy and paste 2–1048 S
modifier stack 3–487 safe frames 3–454, 3–589, 3–744
named selection sets 1–87 safe video threshold 2–1064
792 Index
sample object 2–1062 face and vertex normals 2–350

preview 2–1065 function curves 2–888
UV tiling 2–1063 keys (Track View) 2–869, 2–888
video color check 2–1064 objects 1–346
sample range (glossary) 3–724 rendering preferences 3–540
sample rate 2–1397 scale XYZ controller 2–724
sample slot 2–1050, 2–1052 time (Track View) 2–879
active 2–1071 values (Track View Curve Editor) 2–888
adding bitmap 2–1205 scanline renderer 2–1343, 3–726
and material name 2–1026 scanline rendering 2–1413
background 2–1063 scatter 1–286
backlight 2–1062 scene extents 3–726
cool 2–1072 scene motion blur (glossary) 3–726
default 2–1072 scene state
display adjustment 2–1066 camera properties 3–375
hot 2–1072 camera transforms 3–375
right-click menu 2–1052 delete 3–377
sample type environment 3–375
cube 2–1062 layer assignments 3–375
cylinder 2–1062 layer properties 3–375
sphere 2–1062 light properties 3–375
sample UV tiling 2–1063 light transforms 3–375
sampling 3–724 materials 3–375
filters 2–1397 object properties 3–375
sampling quality rollout 2–1397 rename 3–377
thresholds 2–1397 restore 3–377
satellites 2–1421 save 3–377
save commands selected parts 3–375
hold 1–91 scene-in use tool right-click menu 3–423
save (file menu) 3–94 scene-unused tool right-click menu 3–423
save active view (views menu) 1–35 scenegraph 3–226
save as (file menu) 3–95 scene–in use palette 3–407
save copy as (file menu) 3–96 scenes 1–4
save custom UI scheme 3–527 animating 1–8
save preview (Material Editor) 2–1065 archiving 1–17
save selected (file menu) 3–96 backing up 1–17
scene/settings in buffer 1–91 importing 1–14
save copy as 3–96 managing 3–89
save custom UI scheme 3–527 merging 1–14
saving rendering 1–8
backup on save 3–548 replacing 1–14
compressed file 3–548 scene–unused palette 3–407
files from previous versions 3–94 Schematic View
material 2–1037 delete Schematic View 3–314
materials 2–1039 display floater 3–313
thumbnail image 3–548 displaying in viewport 3–453
UI configuration on exit 3–537 glossary 3–727
scale synchronization between AutoCAD and list views 3–306
Autodesk VIZ 3–323 menus 3–304
scale values (Track View) 2–888 new Schematic View 3–314
scaling 1–346, 1–361 to 1–362 preferences dialog 3–307
changing 1–341 right-click menu (selection) 3–314
deformation 1–323 Schematic View window 3–300
Index 793
selecting with 1–66 name 1–74, 2–896

shortcuts 3–610 name (button) 1–74
toolbars 3–311 name (edit menu) 1–83
using 3–302 smoothing group 2–337, 2–366
screen 3–459 time (Track View) 2–873
script vertex color 2–357
and scripting definitions 3–727 select by material ID dialog
script controller (Track View) 2–725 lightscape import 3–215
scripts select datum dialog 3–579
debugging 3–503 select ellipsoid dialog 3–580
scripts rollout 2–1340 select global coordinate system dialog 3–580
scrolling panels/toolbars 1–10 select keys 2–819
searching select keys by time 2–845
defining search terms 3–622 select menu (Schematic View) 3–304
for files 3–126 select objects dialog 1–74
for help topics 3–622 select objects in current layer 3–374
using nested expressions 3–622 select region
section 1–253 crossing 1–84
seed value (glossary) 3–727 lasso 1–78
segment (glossary) 3–728 paint 1–79
segments shadow mode 2–1411 window 1–84
select 1–363 window/crossing 1–85
select all (edit menu) 1–82 select time (Track View) 2–875
select and link button 2–768 selecting
select and manipulate 2–643 and blocks 3–359
select background image dialog 1–40 basics 1–60
select bitmap image file dialog 2–1209 by ID 1–275, 1–280, 2–337, 2–366
select invert (edit menu) 1–82 by material 2–1069
select keys by time (Track View) 2–873 by name 1–63
select layers dialog 3–337 by region 1–62
select linked objects dialog 3–338 hierarchies 2–771
select none (edit menu) 1–82 mesh sub-objects 2–353
select object (main toolbar) 1–73 named selection sets 1–63
select objects dialog 1–74 objects 1–57, 1–60
select time (Track View) 2–875 open editable mesh edges 2–362
selection floater 1–76 selection filters 1–64
select and move 1–360 shadow type 2–961
select and non-uniform scale 1–362 shape sub-objects 1–261
select and rotate 1–360 successive vertices 1–268
select and squash 1–363 time 2–875
select and transform buttons with Schematic View 1–66
move 1–360 with Track View 1–65
non-uniform scale 1–362 selecting objects to be exported 3–184
rotate 1–360 selection center (use center flyout) 1–367
scale flyout 1–361 selection commands 1–72
squash 1–363 selection filter (main toolbar) 1–80
uniform scale 1–361 selection floater (tools menu) 1–76
select and uniform scale 1–361 selection lock toggle 3–436
select bitmap image file dialog 2–1209 selection region 1–76 to 1–79
select by 1–83 selection sets 1–63, 1–80 to 1–81, 2–39
color 1–83 self-illumination 2–1104 to 2–1107, 2–1112
material 2–1069 self-illumination (glossary) 3–728
material ID 1–275, 1–280, 2–337, 2–366, 2–600 self-illumination mapping 2–1127
794 Index
server setup and managing (network rendering) 2–1471 shellac material 2–1185
set current layer to selection’s layer 3–374 shift+clone 2–3, 2–8 to 2–11
set key 2–673, 3–442 animating 2–12
setting up shininess 2–1160
directories 2–1477 shininess and shininess strength 2–1125 to 2–1126, 3–683
for network rendering 2–1476 Shockwave 3D files
rendering software 2–1476 analyzing 3–230
your scenes 1–4 exporting 3–225 to 3–226
settings previewing 3–230
Revit 3–349 shortcuts 3–601
settings menu edit/editable mesh 3–603
Track View 2–836 edit/editable spline 3–604
SGI image file formats 3–276 main user interface 3–605
shade selected (views menu) 1–45 Material Editor 3–608
shaded viewports 1–49 shortcuts - default keyboard
shader basic parameters rollout 2–1094 communication center 3–602
shader list 2–1294 edit poly 3–603
shaders 2–1094, 2–1104 to 2–1107, 2–1109, 2–1128 editable patch 3–604
custom Autodesk VIZ 2–1283 editable poly 3–604
for standard materials 3–729 free-form deformation (FFD) 3–605
lume 2–1284 NURBS 3–608
LumeTools 2–1284 object display culling 3–610
mental ray 2–1281, 2–1283, 2–1293 to 2–1294, 3–728 Schematic View 3–610
mental ray (third party) 2–1282 Track View 3–611
shading and lights 2–1029 unwrap UVW 3–611
shading type 2–1027 to 2–1028 walkthrough navigation 3–617
shadow maps 2–992, 3–730 show
mental ray 2–989 show curves button 3–434
shadow parameters (lights) 2–967 show dependencies (views menu) 1–45
shadow types 2–961 show end result (Material Editor) 2–1076
shadows 2–1388 show end result (modifier stack) 2–32
shadow maps 2–1388, 2–1411, 3–730, 3–749 show frame numbers (viewports preference) 3–551
shadow modes 2–1411 show ghosting (views menu) 1–44
shadows rollout 2–1411 show home grid (views menu) 2–649
shadows and rendering 2–962 show key times (views menu) 1–44
shadows map (baking) 2–1441 show last rendering (rendering menu) 2–1331
shape check utility 1–237 show map in viewport (Material Editor) 2–1074
shape commands (loft objects) 1–332 show safe frame 3–744
shape sub-objects show selected key statistics (Track View) 2–899
cloning selections 1–261 show tangents (Track View) 2–890
selecting 1–261 show UI 3–508
shape-file format 3–144 show vertices as dots (viewports preference) 3–551
ShapeMerge object 1–296 transform gizmo 1–43
shapes 1–234, 1–253, 3–731 show icon control 2–938 to 2–939
creating from edges 2–97, 2–399 show safe frame 3–589
lofting 1–234 show selected key statistics (Track View) 2–899
rendering 1–234 show tangents (Track View) 2–890
sharing SHP files 3–144, 3–732
materials 3–355 shutter speed 2–1400
sharing a directory (network rendering) 2–1479 sibling
sharing plug-ins with a network 3–536 go forward 2–1076
shell material 2–1187 go to 2–1076
shell modifier 2–191 Simes luminaires palette 3–415, 3–419
Index 795
simple shadow mode 2–1411 snapshot dialog 1–380

single-axis constraints 1–368 to 1–369 soft selection 2–844
size of grid square 3–438 soft selection manager 2–845
sketch tool dialog 2–268 soft selection rollout
sketch UVWs 2–262 brush options 2–302
skew modifier 2–195 soft selection rollouts 2–312, 2–509
skin parameters rollout (loft objects) 1–317 software display driver 3–558, 3–561
sky 2–951 sort order (select objects dialog) 1–74
skylight 2–935 sort shadow mode 2–1411
radiosity 2–935 sound
skylight (glossary) 3–732 options dialog (Track View) 2–834
slave controller 2–702 sound plug-in (animation preference) 3–546
slave parameters dialog (block controller) 2–739 threshold 2–735
slice VRML97 helpers 3–243
editable mesh edges 2–362 spacing tool 1–381, 2–21
editable mesh vertices 2–357 special controls 1–10
modifier 2–196 special-purpose controllers 2–688
slide keys 2–868 specification 3–239, 3–687
slider manipulator 2–646 specifying
slider, time/frame 3–430 default controller values 2–686
sliding door 1–223 default controllers 2–686
sliding joints 2–802, 2–804, 2–813 speckle map 2–1252
sliding window 1–233 specular
smart scale 1–361 color 3–733
smart select 1–73, 1–76 color mapping 2–1125
smoke map 2–1251 level mapping 2–1125
smooth modifier 2–199 specular highlight 2–1106
smooth rotation controller 2–728 specular highlights
smoothing groups 3–327, 3–732 anisotropic 2–1116
assigning faces to 2–366 Blinn 2–1118
assigning patches to 2–337 metal 2–1119
viewing and changing 1–136, 1–138 multi-layer 2–1120
SMPTE (glossary) 3–732 Oren-Nayar-Blinn 2–1118
snap frames (Track View) 2–865 Phong 2–1118
snap options 2–627 specular map (baking) 2–1441
snaps sphere
2D/2.5D/3D 2–651 object 1–145
and cuts 2–375 SphereGizmo helper 3–87
grid and snap settings 2–654 spherical area omni light 2–938
options/settings 2–627, 2–660 spherify modifier 2–200
setting standard 2–626 spindle 1–167
snap commands 2–650 spinner right-click menu 2–675
snap override 2–658 spinners 1–10
snaps toggle spinner snap 2–653
angle 2–653 spiral stair 1–206
percent 2–653 splash screen 1–16
spinner 2–653 splash.bmp file 1–16
snaps toolbar 3–398 splat map 2–1252
ortho snapping mode 1–372 spline select modifier 2–201
polar snapping mode 1–373 splines 1–237, 2–212
snapshot 1–380 adding 1–275, 1–280
cloning objects over time 2–13 arc 1–246
dialog 1–380 attach 1–268, 1–280
796 Index
circle 1–244 pyramid 1–153

cleaning up segments 1–280 sphere 1–145
copying (outline) 1–280 teapot 1–154
deleting 1–280 torus 1–151
donut 1–247 tube 1–150
editable splines 1–261, 1–266, 1–268, 1–275, 1–280 standard snaps 2–626
ellipse 1–245 standard user grids 2–635
explode 1–280 star 1–249
glossary 3–733 lens effects 3–27
helix 1–252 starting
line 1–242 manager and server (network rendering) 2–1471
making coincident 2–212 network rendering 2–1471
mirror 1–280 startup files 1–16
NGon 1–248 startup layout - return to 3–529
rectangle 1–244 startup screen 1–16
star 1–249 startup script (glossary) 3–734
text 1–250 statistics rollout (radiosity) 2–1375
split mesh 2–354 status bar controls 3–427
split scan lines 2–1487 main window 3–430
spotlights Track View 2–895
parameters 2–969 steps
spotlight distribution (photometric lights) 2–954 and editable patch 2–321, 2–333, 2–337
spring back - setting (IK) 2–792 and editable spline 1–261
squash 1–363 stereolithography (STL) 3–231
squeeze modifier 2–202 stitch tool dialog 2–269
SSS materials (mental ray) 2–1173 stitch UVWs 2–262
stack 2–30, 2–32, 2–36, 3–701 STL
stack. see modifier stack 3–481 exporting files 3–233
stairs 1–180, 1–202 importing files 3–231
l-type 1–203 STL check modifier 2–204
spiral 1–206 stop animation playback 3–445
straight 1–210 straight stair 1–210
u-type 1–214 Strauss basic parameters rollout 2–1107
standard helpers 2–631 streak
compass 2–642 render effect 3–31
dummy 2–631 stretch modifier 2–206
expose transform 2–632 strokes 3–599
exposetm 2–632 defining 3–595
grid 2–635 preferences 3–593, 3–598
point 2–638 reviewing and editing strokes 3–597
protractor 2–641 viewport preferences 3–551
tape 2–639 stucco map 2–1253
standard lights 2–911, 2–927 studio palettes 3–415
skylight 2–935 studios 3–415, 3–418
standard material 2–1093 styles
standard materials and Architectural Desktop objects 3–360
shaders (glossary) 3–729 propagation 3–355
standard primitives 1–141 sub-materials 3–537
box 1–142 sub-object
cone 1–143 chamfer curve (NURBS) 2–523
cylinder 1–148 common controls 2–486
GeoSphere 1–147 glossary 3–735
plane 1–156 material assignment 2–1055
Index 797
selection 1–70, 2–35 to 2–36, 2–353, 2–449 systems 1–334

subdivide 2–333, 2–337, 2–354, 2–366, 2–375 daylight 1–335
subdivide modifier 2–209 sunlight 1–335
subdivide modifier (world space) 2–50
subdivision surfaces 2–136, 2–311 T
substitute modifier 2–210 tags (time) 3–438 to 3–439
subsurface scattering (SSS) materials (mental ray) 2–1173 tangent handles 1–268
subtractive opacity (glossary) 3–735 tangent types 2–695
subtree - modifying (Track View) 2–833 tangents
summary info 3–111 glossary 3–736
sun 2–949 locking 2–891
sunlight 1–335 type of 2–699
sunlight (glossary) 3–736 tape helper object 2–639
super black 3–540, 3–736 taper modifier 2–232
superimposed material 2–1185 targa files 3–276
supersampling 2–1088, 3–736 targa files (glossary) 3–717
surf point 2–584 target
surface approximation 2–601, 2–606 to 2–607 camera 3–467
surface constraint 2–743 lights 2–928, 2–931, 2–943 to 2–945, 2–947
surface joints 2–802, 2–804 target area light 2–947
surface properties rollout (editable objects) 2–354, 2–366 target camera 2–1000
surfaces target distance 2–1389
NURBS surfaces 2–465 target linear light 2–945
surface approximation (NURBS) 2–601, 2–607, 2–613 target map slot 2–1443
surface deform (SurfDeform) 2–51 target objects - look at controller 2–718
surface edge curve 2–539 target point light 2–943
surface mapper (world space) 2–50 TCB
surface modifier 2–63, 2–212 controllers 2–728
surface offset curve 2–529 glossary 3–737
surface parameters (loft objects) 1–314 teapot 1–154
surface point 2–584 technical support 3–628
surface properties rollout (editable objects) 1–280, techniques
2–337, 2–354, 2–357, 2–362, 2–366 NURBS 2–459
surface sub-objects - creating 2–539 tee 1–259
surface tools 2–63, 2–212 teeter deformation 1–325
surface trimming 2–445 temporary
surface-curve intersection point 2–586 buffer 1–91
surface-surface intersection curve 2–528 IGES files 3–174
SurfDeform modifiers 2–218 tension/continuity/bias (glossary) 3–737
SurfDeform modifiers 2–51, 2–218 terminating chains 2–796
swap terminators 2–782
colors 2–1081 terminology (inverse kinematics) 2–782
maps 2–1080 terrain 1–306
sweep modifier 2–218 creating effects with noise modifier 2–165
extract 2–228 glossary 3–738
merge from file 2–229 tessellate
pick shape 2–227 faces 2–366
swirl map 2–1230 tessellate modifier 2–234
symmetry modifier 2–231 tessellate selection dialog 2–441
synchronizing animated bitmap with the scene 2–1080 texel 3–738
system unit text 1–250
setup dialog 3–582 texture
units mismatch dialog 3–584 baked elements 2–1440
baking 2–1437
798 Index
rendering to 2–1437, 2–1440, 2–1443 scale (Track View) 2–879

target map slot 2–1443 selecting 2–875
texture baking - shell material 2–1187 setting time segments 2–679
textures specifying active time segment 2–679
and imported mask bitmaps 3–141 time configuration button 3–447
and material properties 2–511 time ruler (Track View) 2–828
and NURBS models 2–464 time slider 2–828, 2–866, 3–430
baking 2–1443 time tags 3–438 to 3–440
disable texture map display 3–586 time controls 3–440
pick texture option (edit UVWs dialog) 2–252 time menu, Track View 2–845
pinning 2–247 time paste (Track View) 2–877
TGA files 3–276 time reverse (Track View) 2–878
thin wall refraction map 2–1274, 2–1382 time ruler (Track View) 2–828
third-party help files 3–628 TimeSensor (VRML97 helpers) 3–247
third-party plug-ins page 3–628 tips
threshold 1–138, 2–199 adjusting radiosity 2–1162
adaptive control 2–1156, 2–1270 camera correction 2–1020
and HD IK solver 2–788 copying keys between frames 3–432
color 2–1252 to 2–1253 flipping face normals 2–373
edge visibility 2–362 magnifying camera adjustment 3–469
explode angle 2–354, 2–366 maintaining consistent camera lens size 2–1003
noise 2–1224, 2–1226, 2–1247, 3–62, 3–68 NURBS 2–459
optimize 2–170 output size and rendering speed 2–1334
planar 2–151, 2–350 playing animations in all viewports 3–445
position/rotation (IK) 2–788 propagating layer properties 3–365
reduce keys 2–881 radiosity and walkthroughs 2–1360
safe video 2–1064 selecting faces to hide 2–353
sound 2–735 testing radiosity 2–1360
super black 3–540 textures (NURBS) 2–464
supersampling 2–1088 turning off material propagation 3–491
use secondary (IK) 3–542 updating information in light lister 2–924
weld 1–268, 2–212, 2–252, 2–271, 2–357, 3–147, using file link manager 3–319
3–159, 3–231 VRML97 3–237
thumbnails toggles
open file 3–91 angle snap 2–653
viewport image 3–548 animation mode 2–672, 3–441
ticks (glossary) 3–738 auto key mode 2–672, 3–441
TIFF files 3–82, 3–277 auto material propagation 3–355
tile/mirror (glossary) 3–739 degradation override 1–32
tiles map 2–1232 enable ease or multiplier curve 2–892
time full screen 3–459
controlling 2–678 key mode 3–447
copy (Track View) 2–876 maximize viewport 3–459
cutting 2–876 percent snap 2–653
deleting 2–876 selection lock 3–436
editing 2–874 shortcut keys 3–602
fitting into 2–879 spinner snap 2–653
insert (Track View) 2–878 window/crossing 1–85
moving through 2–680 toggling dialogs 3–382
paste (Track View) 2–877 tool palettes 3–403
removing 2–878 cameras palette 3–412
rescaling active time segment 2–679 concrete palette 3–405
reverse (Track View) 2–878 doors / windows palette 3–405
Index 799
ERCO luminaires 3–419 ranges toolbar 2–852

ERCO luminaires palette 3–415 render shortcuts 3–397
fabrics palette 3–405 Schematic View 3–311
finishes palette 3–405 snaps 3–398
flooring palette 3–405 toolbars panel (customize UI) 3–513
fluorescent palette 3–412 troubleshooting when missing 3–640
gloss palette 3–405 toolbox (NURBS) 2–448
high intensity discharge 3–412 tools
incandescent palette 3–412 for low-polygon modeling 2–614
lights palette 3–412 Material Editor 2–1057
low-pressure sodium palette 3–412 precision 2–617
luminaires 3–419 rename objects 1–118
luminaires palette 3–415 tools menu 3–385
masonry palette 3–405 align 1–389
material studios 3–415 to 3–416 align camera 1–395
metal palette 3–405 align to view 1–395
new palette 3–404 array 1–376
paint palette 3–405 asset browser 3–117
palette right-click menu 3–422 camera match 2–1014
palette tab right-click menu 3–424 clone and align tool 1–386
plastic palette 3–405 color clipboard 1–135
properties right-click menu 3–421 display floater 3–496
rubber palette 3–405 floaters 3–496
scene-in use tool right-click menu 3–423 grab viewport 1–33
scene-unused tool right-click menu 3–423 isolate selection 1–69
scene–in use palette 3–407 light include/exclude 2–923
scene–unused palette 3–407 light lister 2–924
shortcuts 3–610 measure distance 2–631
Simes luminaires 3–419 mirror 1–375
Simes luminaires palette 3–415 normal align 1–392
studio palettes 3–415 open assembly 1–103
studios 3–415, 3–418 place highlight 1–394
title bar right-click menu 3–421 quick align 1–392
tool properties dialog 3–426 rename objects 1–118
tool right-click menu 3–423 selection floater 1–76
unsupported materials 3–410 snapshot 1–380
wood palette 3–405 spacing tool 1–381
tool palettes panel (customize UI) 3–520 transform type-in 1–352
tool palettes set 3–403 tools palettes
tool properties dialog (tool palettes) 3–426 view options dialog 3–427
tool right-click menu 3–423 tooltips 3–428
toolbars 3–394, 3–524 tooltips in viewports
axis constraints 3–396 preferences 3–537
controller toolbar 2–852 top/bottom material 2–1186
curve editor 2–847 topology (glossary) 3–739
displaying toolbars 3–507 topology dependent modifier 3–739
dope sheet 2–850 torus 1–151
extras 3–397 torus knot 1–160
extras dope sheet toolbar 2–852 TouchSensor (VRML97 helpers) 3–246
HTML help viewer 3–624 trace depth 2–1404, 2–1413, 3–714
icon scheme 3–527 track
layers 3–397 copying 2–876
main 3–395 glossary 3–740
800 Index
note 2–863 to 2–864 transform gizmo 3–741

track bar 3–432 transform gizmos
track view preferences 3–554
key time display 2–897 show transform gizmo 1–43
keys menu 2–843 using 1–348
value display 2–898 transform script controller 2–731
Track View transform tools 1–374
assign controller 2–857 transform type-in 1–344, 1–352, 3–437
concepts 2–822 transformation axis coordinate system list 1–364
controller menu 2–841 transforms
controller toolbar 2–852 adjusting 2–777
controller window 2–822, 2–828 and light objects 2–921
curve editor 2–818, 2–826 and mesh sub-objects 2–353
curves menu 2–845 and modifiers 2–28
customization 2–903 animating 1–354
delete Track View 2–901 to 2–902 applying 1–341, 1–344
dope sheet 2–818 commands 1–359
extras dope sheet toolbar 2–852 constraints 1–368
glossary 3–739 controllers (glossary) 3–656
hierarchy 2–828 controlling 2–690
hierarchy icons (glossary) 3–740 curve 2–519
keys window 2–822 curve sub-object 2–519
menu bar 2–835 glossary 3–742
modes menu 2–835 locking 2–778
new Track View 2–901 locking axes 2–817
pan 2–899 managers 1–354
pasting time 2–877 resetting AutoCAD objects 3–341
pick dialog (block controller) 2–740 surface 2–544
properties 2–870 surface sub-object 2–544
ranges toolbar 2–852 transform tools 1–374
selecting with 1–65 using 1–343
settings menu 2–836 viewing and copying keys 2–676
shortcuts 3–611 translate only 2–1421
sound options 2–834 translation file (specifying name and path) 2–1421
status bar/view controls 2–895 translator options rollout 2–1415
time menu 2–845 translucency 2–1115, 2–1160
tracks menu 2–843 glossary 3–743
utilities 2–871 to 2–873 translucent highlights 2–1121
utilities menu 2–845 translucent shader 2–1109
working with 2–822 transmittance display 2–1060
workspace 2–822 transparency 2–1160
zoom 2–900 tri patch 2–349
zoom horizontal extents 2–899 trigonometric functions 1–122
zoom region 2–901 trim overlapping segments 1–280
zoom selected object 2–896 trim/extend modifier 2–235
zoom value extents 2–900 troubleshooting 3–629
Track View utilities assertion failed errors 3–630
current value editor 2–874 automated error reporting 3–629
tracks menu, Track View 2–843 basic troubleshooting start point 3–643
trajectories Boolean objects 3–632
glossary 3–741 camera match 2–1014
motion panel 2–691 creases or ridges in Boolean objects 3–632
transform coordinates and coordinate center 1–363, 1–367 Direct3D failed to initialize message 3–643
Index 801
Direct3D reports a memory warning 3–643 ungroup 1–99

dual monitor configuration 3–643 unhide 1–51, 3–684
error reporting 3–629 uniform scale 1–361
large font problems 3–640 unify normals 1–137, 3–327
Lightscape import 3–218 units
lost dialogs 3–640 and display of mouse position 3–437
merging corrupt files 3–630 automatic unit conversion 3–91
missing command panel 3–640 file load units mismatch 3–584
missing gizmos 3–640 mismatch 3–584
multiple or missing buttons on toolbars 3–640 setup 3–581
network rendering 2–1473 synchronizing between programs 3–323
objects disappear when the camera gets close 3–639 system setup 3–582
remember back up files 3–630 troubleshooting problems with 3–639
slow file opening 3–636 unit scale preference 3–537
slow response to open or drag dialogs 3–636 using 2–618
slow startup time 3–636 universal naming convention (UNC) 3–743
sluggish command response 3–636 unlink selection 2–769
spanning across monitors 3–643 unlock interior edges (of selected patches) 2–316
splines and Boolean operations 3–632 unsupported materials 3–407
tips for successful Boolean operations 3–632 unwrap UVW 2–247, 3–611
unit scale and movement resolution relationship 3–639 automatic mapping 2–262
viewport transparency 3–643 Edit UVWs dialog 2–252
truck camera 3–470 options dialog 2–271
truck light 3–476 pack UVs dialog 2–266
truecolor 3–540, 3–743 relax tool dialog 2–266
tube 1–150 update
turbosmooth modifier 2–237 background image 1–42
turn to mesh modifier 2–240 background while playing 3–551
turn to patch modifier 2–241 during spinner drag 1–48
turn to poly modifier 2–243 scene materials 2–1086
tutorials 3–627 updates 3–628
tweens 2–670 use center flyout 1–366
twist use pivot point center 1–367
deformation 1–324 use selection center 1–367
modifier 2–245 use transform coordinate center 1–367
two-point perspective 2–1019 use dual planes (viewport preference) 3–551
two-sided 3–587 use pivot point center 1–367
use pivot points 2–38
U use planes (viewport preference) 3–551
U and V iso curves 2–530 use secondary threshold (IK) 3–542
U loft surface and sub-object 2–558 use selection center 1–367
u-type stair 1–214 use soft select 2–844
UI 3–393, 3–505, 3–508, 3–511, 3–527, 3–529, 3–585, use transform coordinate center 1–367
3–588 UseEnvironAlpha setting 3–672
customizing 3–525 user grids 2–635, 2–664
UI files 3–525 user interface
unbinding customizing 3–505
objects 2–786, 2–808 introduction 3–381
vertices 1–268 menu bar 3–384
UNC 3–743 problems and recovery 3–640
undo 1–10, 1–34, 1–89 to 1–90 user reference 1–ix, 3–619, 3–627
undo levels 3–537 user views 1–22
unfold mapping 2–263, 2–270 user-defined object properties 1–117
unfreezing objects 1–66, 3–496
802 Index
using IFL manager 3–261

assemblies 1–93 instance duplicate maps 2–1311
asset browser 1–15 lighting data exporter 3–82
auto key button 2–672 link inheritance (selected) 2–780
axis constraints 1–358 list of 3–499
batch rendering 2–1463 material xml exporter 2–1037
clipping planes to exclude geometry 2–1009 MAXScript 3–394
configure paths 2–1480 measure 2–665
create panel 1–126 object display culling 1–56
default joint precedence 2–793 panorama exporter 2–1453
dummy objects 2–775 polygon counter 2–614, 3–239
grid objects 2–621 randomize keys (Track View) 2–871
grids 2–619 rescale world units 2–666
groups 1–92, 3–386 reset XForm (transform) 1–359
help 3–619 resource collector 3–127
home grid 2–620 select keys by time (Track View) 2–873
horizon to match perspective 2–1009 shape check 1–237
HTML help viewer 3–620 strokes 3–599
lights 2–913 surface approximation 2–607
maps to enhance a material 2–1033 Track View 2–871
materials 1–6 utilities menu, Track View 2–845
modifier stack 2–30 utilities panel 3–499
modifier stack at sub-object level 2–36 UVW remove utility 2–1039
modify panel 2–28 visual MAXScript 3–503
move and rotate to aim 2–1008 utility
multiple computers 2–1465 content browser 3–124
named selection sets 1–63 UV
NURBS toolbox to create sub-objects 2–448 coordinates 2–1036
online reference 3–619 loft surface 2–562
polygon counter (VRML97 Export) utility 3–239 sample UV tiling 2–1063
Schematic View 3–302 uv coordinate shader (mental ray) 2–1299
select by name 1–63 uv generator shader (mental ray) 2–1295
selection filters 1–64 uv generator shader parameters rollout (mental
shapes 1–234 ray) 2–1295
shift+clone 2–8 uv generator shaders rollout (mental ray) 2–1298
standard view navigation 1–26 UVW
transform gizmos 1–348 coordinates 2–1036
transforms 1–343 coordinates (glossary) 3–743
transforms to aim a camera 2–1008 edit UVWs dialog menu bar 2–260
units 2–618 map modifier 2–274
utilities mapping in Architectural Desktop objects 3–345
animation 2–907 mapping in Revit objects 3–354
asset browser 3–117 remove utility 2–1039
assign vertex colors 2–1303 XForm modifier 2–285
camera match 2–1014
clean multimaterial 2–1308 V
collapse 2–314 v command-line option 3–384
color clipboard 1–135 -v command-line option 3–384
create out-of-range keys (Track View) 2–872 value display 2–898
dialog 3–500 VDA targa files 3–276
Autodesk VIZ file finder 3–126 vector
fix ambient 3–128 editable patch handle sub-object 2–331
follow/bank 2–907 handles and editable patch vertex sub-objects 2–325
introduction 1–123
Index 803
vector handles (glossary) 3–744 viewing

vector projected curve 2–533 3D space 1–19
verbosity (messages) 2–1421 and changing normals 1–137
versioning 3–102 grid objects 2–622
vertex alpha 2–288 portions of scene 2–1009
vertex color 2–286 smoothing 1–138
rendering 2–1265 transform keys 2–676
vertex color map 2–1265 viewport clipping 2–1009, 3–453, 3–586
vertex display size 3–552 viewport configuration 3–585
vertex illumination 2–288 adaptive degradation 3–591
vertex normals (scaling) 2–350 layout 3–588
vertex type 2–325 regions 3–592
vertexpaint modifier 2–286 rendering method 3–586
adjust color dialog 2–298 safe frames 3–589
color palette 2–299 viewport configuration dialog 3–585
paintbox 2–291 viewport controls 3–457
palette 2–299 viewport navigation
vertical (move key) 2–887 walkthrough 1–28, 3–459 to 3–460
vertices viewport properties menu 3–453
adding 1–268, 1–275 viewport renderer (glossary) 3–745
align 2–357 viewport rendering 3–586
attach/detach 2–357 viewport shading 3–586
breaking 2–357 viewports 1–20, 3–451
checking for alignment in loft objects 1–333 and display of modifier effect 3–481
creating 2–357 arc rotate snap angle preference 3–551
deleting 1–268, 2–357 background 1–36
inserting 1–266, 1–280 background image 1–36
make planar 2–357 configuring 3–585
painting 2–286 controlling rendering 1–25
selecting by color 2–89, 2–390 create snapshot of 1–33
slice 2–357 general concepts 1–20
weld 2–357 grab 1–33
video color check 2–1064 layout 3–588
video driver and display problems 3–643 preferences 3–551, 3–558, 3–560
view print 3–114
align to view button 1–395 prompt line 3–428
axonometric views 1–22 redraw all views 1–48
camera views 1–22 reset layout 3–505
light views 1–22 right-click menu 3–453
navigation 1–26 setting layout 1–24
perspective views 1–22 status line 3–430
preset 1–22 tooltips 3–451
view file dialog 3–114 tooltips preference 3–537
view image file (file menu) 3–114 viewport controls 3–457, 3–460, 3–467, 3–471
view preview (rendering menu) 2–1453 viewport renderer (glossary) 3–745
view change 1–34 views menu commands and 3–386
view image file 3–114 views menu 3–386
view menu (Schematic View) 3–305 activate all maps 1–48
view options dialog 3–427 adaptive degradation toggle 3–591
view samples 3–724 add default lights to scene 1–46
view steps 2–321, 2–325, 2–333, 2–337, 2–343 create camera from view 1–46
view-handling commands 1–33 deactivate all maps 1–48
expert mode 1–48
804 Index
grids 2–649 wall 1–180, 1–193

redraw all views 1–48 editing wall objects 1–198
reset background transform 1–43 warning messages 3–548
restore active view 1–35 watermarks and rendered images 2–1349
save active view 1–35 wave
shade selected 1–45 wave modifier 2–307
show dependencies 1–45 waveform controller 2–733
show ghosting 1–44 waves map 2–1254
show key times 1–44 web distribution 2–955, 2–957, 2–984
show transform gizmo 1–43 web parameters rollout 2–984
undo/redo 1–34 web site
update background image 1–42 getting content from 3–117
update during spinner drag 1–48 welcome 1–ix
viewport background 1–36 weld
viewport image 1–42 to 1–43 editable mesh edges 2–362
virtual viewport 3–592 editable mesh vertices 2–357
visibility tracks 2–859, 2–866 threshold 1–268, 2–212, 2–252, 2–271, 2–357, 3–147,
visible/invisible 2–362 3–159, 3–231
VIZ Render files 3–136 to 3–137 vertices 1–268
Linked Geometry 3–137 weld vertices/edges dialog 2–442
VIZBlock 3–745 wide flange 1–259
VIZBlocks window/crossing toggle 1–85
selecting when file linking 3–338 windows 1–180, 1–224
vizstart.cui file 1–10, 1–16 Autodesk VIZ 1–9
vizstart.max file 1–16 awning 1–228
volo view express 1–15, 3–117 casement 1–229
volume fog environment effect 3–64 fixed 1–230
volume light environment effect 3–68 pivoted 1–231
volume select modifier 2–303 projected 1–232
volume shading sample preview 2–1050
mental ray 2–1393 sliding 1–233
voxel 2–1154 wire editor 2–759
voxel size 2–1425 wire parameters 2–758 to 2–759
VRML format 3–233 expression techniques 1–119
VRML97 3–237 wireframe color 3–479
exporting to 3–234, 3–237 wireframes 1–44, 1–49, 3–747
helpers 3–240 to 3–243, 3–245 to 3–251 wood map 2–1255
specification 3–239 wood palette 3–405
VST targa files 3–276 workflow
VUE file Revit 3–351
glossary 3–745 workflows
renderer 2–1426 designing materials 2–1025
edit poly 2–78
W editable poly 2–378
W3D files project workflow in Autodesk VIZ 1–1
analyzing 3–230 radiosity 2–1357
exporting 3–225 to 3–226 set key 3–443
previewing 3–230 sub-object selection (NURBS) 2–449
walkthrough assistant 2–1020, 3–747 working with AutoCAD, Architectural Desktop and Revit
walkthrough button 1–28 files 3–339
walkthrough flyout 3–459 to 3–460 working with drawing files 3–316
walkthrough navigation 1–28, 3–459 to 3–460 world axis 1–343
keyboard shortcuts 3–617 world coordinate system (glossary) 3–748
Index 805
world space 3–748 XYZ generator shader (mental ray) 2–1299 to 2–1301
world-space modifier 2–41 XYZ to UVW option (UVW map modifier) 2–274
camera map 2–41
displace mesh 2–42 Y
displace NURBS 2–43 YUV file 3–278
glossary 3–748
LS colors 2–45 Z
MapScaler 2–46 -z command-line option 3–384
PatchDeform 2–47 z element parameters rollout 2–1436
PathDeform 2–47 zoom
subdivide 2–50 about mouse point (preference) 3–551
surface mapper 2–50 zoom 3–461
SurfDeform 2–51 zoom (Track View) 2–900
world-space tripod 3–451 zoom all 3–461
wrectangle 1–255 zoom extents all/all selected 3–459
WSM modifier 2–41, 2–45 zoom extents/extents selected 3–462
camera map 2–41 zoom horizontal extents/extents keys (Track
displace mesh 2–42 View) 2–899
displace NURBS 2–43 zoom region (Track View) 2–901
MapScaler 2–46 zoom selected object (Track View) 2–896
PatchDeform 2–47 zoom value extents (Track View) 2–900
PathDeform 2–47 zooming views 1–27
subdivide 2–50 zoom value extents (Track View) 2–900
surface mapper 2–50 zoom value extents range (Track View) 2–900
SurfDeform 2–51 ZT file 3–749
X
XForm modifier 2–309
XLI files 3–174
XLO files 3–174, 3–176
xref material 2–1192
XRef object
proxy object 3–299
XRef objects dialog
entities list right-click menu 3–290
files list right-click menu 3–289
XRef objects dialog 3–284
xref scenes
overlays 3–293, 3–297
Xrefs
glossary 3–749
resolving in file linking 3–337
resolving paths 3–330
XRefs
and paths 3–296, 3–300
glossary 3–749
scenes 3–296
user path configuration 3–534
using XRefs 1–14
XRef merge dialog 3–292
XRef objects 3–280 to 3–281, 3–284, 3–298
XRef scenes 3–280, 3–292
XYZ controllers 2–706 to 2–707, 2–718, 2–722, 2–724
XYZ coordinate shader (mental ray) 2–1301

Autodesk Viz 2007 User Reference Vol3

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AUTODESK

Image courtesy of Luke Novotny for Cox Richardson Architects

Autodesk Canada Co. Trademarks

Third-Party Software Program Credits

15 Effects and Environments ........................... 1 Volume Fog Environment Effect............................... 64

Asset Tracking....................................................... 102 Adobe Illustrator (AI) Files ................................... 145

Layer List ................................................................. 373 Material Palettes ...................................................... 405

Viewports ................................................................ 451 Make Unique .......................................................... 491

Configure Paths .................................................... 529 Select Ellipsoid Dialog............................................. 580

Effects and Environments Environment and Effects Dialog

The fog environment effect adds atmosphere to a street

In Autodesk VIZ, rendering effects and

The Environment and Effects dialog has two

Introduction to Rendering Effects

The Merge button on the Effects panel (page 3–3)

Lights group Distance Affects—Allows distance from the camera

Adding glow to the light

Glow lets you add a glowing aura around any

Intensity—Controls the overall brightness and

Circular Color group

Adding a ring to the light

The ring is a circular color band that surrounds

Name—Displays the name of the effect. With Lens

Intensity—Controls the overall brightness and

Plane—Sets the location of the effect along the axis

Radial Color group

Ring using circular colors as seen in lower right inset

Ring using radial and circular colors mixed 50/50

might need to use the Perimeter option at times

Additional Effects group

Interface Num—Specifies the overall number of rays that

Circular Color group

Additional Effects group

Radial Density—Determines where and how much

Circular Color group

keeps all of the edges clean because it relies on the

Hue—Filters the source objects by their hue. Select

Additional Effects group

Radial Density—Determines where and how much

Interface Intensity—Controls the overall brightness and

Falloff Curve—Displays the Radial Falloff dialog

Circular Color group

Perim(eter)—Applies the Lens Effect only to the

Bright—Filters the source objects based on their

Radial Density—Determines where and how much

Interface Width—Specifies the width of the individual

Section Color group

keeps all of the edges clean because it relies on the

Radial Density—Determines where and how much

Interface Width—Specifies the width of the streak, as a

Section Color group

might need to use the Perimeter option at times

Radial Density—Determines where and how much

Zoom Extents—Fits the curve within the graph

Pan—Allows you to click and drag the Radial

You can also manually enter a horizontal or

active until you click another button. The button

Objects with different Radial Sizes settings applied to Glow

Zoom Extents—Fits the curve within the dialog

Pan—Allows you to click and drag the Radial Size

Directional—Applies the Blur effect in any direction

Blend—Blends the Blur effect and the Whole Image

Min Lum—The minimum luminance value a pixel General Settings group